UC-NRLF 


B 


THK  UfciNTILE  WIFE 

RITA  WELLMAN 


:»K  .      EY 
.IBRARY 
^*'TY  OF 


THE  GENTILE  WIFE 


THE  GENTILE  WIFE 

I 

BY 

RITA  WELLMAN 
A  Play  in  Four  Acts 


NEW  YORK 

MOFFAT,  YARD  &  COMPANY 
1919 


2* 


COPYRIGHT,  1919, 
By  MOFFAT,  YAIID  &  COMPANY 


LOAN  STACK 


CAST  OF  CHARACTERS 


Staged  by  ARTHUR  HOPKINS.        Settings  by  ROBERT  EDMUND  JONES 


"There's  but  one  gift  that  all  our  dead  desire, 

One  gift  that  men  can  give,  and  that's  a  dream, 
Un'ess  we  too  can  burn  with  that  same  fire 
Of  sacrifice;  die  to  the  things  that  seem; 

Die  to  the  little  hatreds;  die  to  greed; 

Die  to  the  old   ignob'e  selves  we  knew; 
Die  to  the  base  coritemnts  of  sect  and  creed, 

And  rise  again,  like  these,  with  souls  as  true." 


CHARACTERS 

DAVID  DAVIS DAVID  POWELL 

MRS.  DAVIS,  his  mother. .  VERA  GORDON 

JACOB  DAVIS,  his  father W.  H.  THOMPSON 

CHRISTINA,  his  aunt MRS.  A.  ASHEROFF 

RUBY,   his  sister AMY   DENNIS 

EVA  GOLDSCHMIDT,  his  sister LITTA  MABIB 

HERMAN  GOLDSCHMIDT,  her  husband STANLEY  JESSUP 

NAIDA,  David's  wife EMILY  STEVENS 

JANE   ALLEN ELEANOR   MONTELL 

DR.   MACKENZIE FRANK   CONROY 

DR.   HOTCHKISS CHARLES   HAMMOND 

CAROLINE VIRGINIA    CURTIS 

ACT  I. — Room  in  a  fashionable  hotel  in  New  York,  in  March. 
ACT  II. — Room  at  "Roselands,"  Long  Island,  in  September. 

ACT  III.— Breakfast     porch     at     "Roselands."       The     following 
morning. 

ACT  IV.— Same  as  Act  II.    September  of  the  following  year. 

PRODUCED    IN    DECEMBER,    ONE    THOUSAND    NINE    HUNDRED 
AND   EIGHTEEN,   AT  THE   VANDERBILT   THEATRE,    NEW   YORK 


DEDICATION 


To  the  managers  who  have  rejected  my  plays, 
To  the  friends  who  have  given  me  advice, 
To  the  American  Public, 

To  all  those,  in  fact,  who  make  the  doing  of  a  good 
thing  so  difficult — and  therefore  impossible  not  to 
try. 


THE  GENTILE  WIFE 

ACT  I 

SCENE:     The  drawing  room  of  a  hotel  apartment. 

Elaborate.  Door  a  little  left  at  back.  A  recessed 
window  on  left  wall.  A  large  door  at  right  angles 
(right}  leads  into  bed  room  which  is  partly  visible.  The 
entrance  door  left  leads  into  a  private  passage  way  which 
has,  of  course,  a  door  beyond  which  communicates  with 
the  public  corridor.  NAIDA  is  opening  the  private  door. 
She  is  an  attractive  woman  of  about  twenty-seven. 
JANE  ALLEN  comes  into  the  passage  and  greets  NAIDA. 
She  is  quite  pretty  and  overdressed. 

NAIDA 
Why,  it's  little  Jane  Allen. 

JANE 

How  are  you?    Oh,  I  am  so  glad  to  see  you  Naida.    You 
haven't  changed  a  bit. 

NAIDA 

How  did  you  find  me?     Whatever  made  you  think  of 
coming  to  see  me? 

JANE 

Curiosity. 

NAIDA 
Jane! 

JANE 

Of  course  not,  darling.     I  wanted  to  see  you  again  after 

[7] 


all  these  months  .  .  .  naturally.  You  know  I  always  adored 
you  if  you  can't  sing  High  E  without  standing  on  your  tip 
toes.  It's  a  nice  hotel,  isn't  it?  What  a  lovely  little  room! 
How  many  have  you? 

NAIDA 

Only  this  .    .    .  and  the  other. 

But  sit  down.  Come  over  here.  .  .  .  You  get  such  a 
wonderful  view  of  Fifth  Avenue  from  here.  I  never  get 
tired  of  sitting  here  and  watching  all  the  things  going  by  way 
down  there  below  me. 

JANE 

Isn't  it  dreadful  to  think  how  much  you  have  to  pay  in 
New  York  for  the  privilege  of  seeing  other  people  look 
like  ants? 

But  tell  me  something  about  your  marriage.  No  one 
dreamed  of  your  doing  such  a  thing.  It's  positively  thrilling. 
We  were  all  talking  about  you  the  other  night.  You  were 
•o  determined.  You  were  the  most  ambitious  one  of  our 
crowd.  Why  you  were  set  on  grand  opera — no  less.  Are 
you  going  on  with  your  music,  Naida? 

NAIDA 

Of  course.  \Vhy  not?  I  don't  intend  to  give  up  my 
career  just  because  I  happen  to  be  married. 

JANE 

Happen  to  be  married  is  good.  What  is  your  husband 
like?  Where  did  you  meet  him? 

NAIDA 

You  were  supposed  to  come  that  night.  It  was  the  supper 
Alice  gave  after  her  recital.  Don't  you  remember? 

JANE 

Of  course.  I  had  tonsilitis.  Will  I  ever  forget  it?  I 
was  going  to  give  a  recital  the  next  day  myself.  My  dear, 
would  you  believe  it  ...  I  was  up  at  Hoffenders  just 
Monday  and  they  didn't  have  a  thing  for  me.  What  are 
singers  to  do?  All  people  want  is  to  go  to  moving  pictures 

[8] 


and  listen  to  free  lectures.  Not  even  a  vaudeville  house 
would  take  me.  But  you  were  going  to  tell  me  something 
about  your  husband.  What  is  his  name?  Alice  was  telling 
me  ...  Paul,  .  .  . 

NAIDA 
No  ...  David. 

JANE 

Oh,  yes,  how  stupid  of  me.  I  knew  it  was  one  of  the 
prophets  or  something.  Well,  don't  stop  .  .  . 

NAIDA 

There  is  really  nothing  to  tell.  We  had  a  wonderful 
little  supper.  Oh,  I  can't  remember  who  was  there.  Celeb 
rities  .  .  . 

JANE 
Oh,  yes,  Alice  always  has  celebrities. 

NAIDA 
Henrietta  Walden  sang. 

JANE 
Agony,  I  suppose? 

NAIDA 
Pretty  bad. 

JANE 

Who  else? 

NAIDA 
Reggie  Woods  sat  on  one  side  of  me. 

NAIDA 

Reggie  of  all  people  in  the  world  1  Did  he  make  you 
feel  his  diaphragm? 

[91 


NAIDA 

Yes,  now  that  I  think  of  it.  We  all  three  got  to  talking 
about  diaphragms. 

JANE 
Who  .  .   .  David? 

NAIDA 

Yes  .  .  .  David.  Then  every  one  around  our  table  began 
to  talk*  about  diaphragms.  Then  everybody  had  to  punch 
and  pound  every  one's  else  diaphragm. 

JANE 

So  that's  how  you  got  acquainted. 

NAIDA 

There's  no  romance  really.  How  is  everybody?  I  haven't 
heard  from  a  soul. 

JANE 

Everybody  is  just  the  same.  Going  to  be  famous  some 
day.  What  does  your  husband  do?  Alice  said  he  was  a 
professor  or  something. 

NAIDA 
He  is  a  biologist. 

JANE 
A  bi-what? 

NAIDA 
A  biologist.    Don't  you  know  what  a  biologist  is? 

JANE 
No  ...  do  you? 

NAIDA 

Of  course.  They  .  .  .  dissect  things,  you  know.  Pick 
animals  to  pieces  ...  all  that  .  .  . 

[10] 


JANE 

What  a  horrid  profession.  Does  he  do  that  sort  of  thing 
here? 

NAIDA 

How  absurd.  Of  course  not,  Jane.  He  works  in  a 
laboratory.  He  teaches,  too. 

JANE 
Isn't  that  funny? 

NAIDA 
What  do  you  mean? 

JANE 

The  things  that  happen.  Who  would  ever  have  thought 
to  see  you  tearing  around  the  conservatory  that  some  day 
you  would  marry  a  man  who  picks  animals  to  pieces. 

NAIDA 
(Offended.) 

It  is  very  interesting.  To  know  how  things  are  made. 
Very  wonderful.  I  intend  to  take  it  up  myself. 

JANE 

Oh,  I  don't  doubt  it.  Do  you  remember  that  red  haired 
girl  .  .  .  you  know  who  I  mean  .  .  .  her  one  ambition  in 
life  was  to  sing  Salome.  Well,  she  married  an  undertaker. 
Now  she  gets  quite  emotional  over  the  subject  of  embalming 
fluid.  I  saw  her  the  other  day.  Even  her  hair  has  changed. 
Did  you  have  much  of  a  trousseau  ? 

NAIDA 

No.  We  only  went  to  Florida  .  .  .  for  a  few  weeks. 
David  couldn't  be  away  very  long.  All  my  things  are  for 
summer,  of  course.  Would  you  like  to  see  any  of  them? 

JANE 

Naida,  I've  been  dying  to,  of  course. 
[11] 


NAIDA 

(Going  to  left  room.) 

I  really  didn't  get  very  much.  We  picked  them  out 
together. 

JANE 

I  should  imagine  the  clothes  picked  out  by  a  bi-lol-o-gist 
would  be  very  interesting.  You  couldn't  get  me  a  cocktail, 
could  you,  dearie?  My  throat  is  parched. 

NAIDA 

Of  course.  How  stupid  of  me.  I  will  order  one  for  you. 
Don't  you  want  something  to  eat  ?  A  sandwich  ? 

JANE 

No,  thanks.  Where  did  you  say  Mr.  Davis  gets  his  money? 

NAIDA 
I  don't  know. 

(Returns  with  several  gowns  over  her  arm.) 
Here  are  some  of  the  things  .  .  . 

JANE 
Darling!    What  a  sweety  little  negligee. 

NAIDA 
I've  never  worn  ft. 

JANE 

Why  not?  Isn't  it  becoming?  It  ought  to  be.  Whew! 
It  came  from  Corinne. 

NAIDA 

It's  too  theatrical.  I've  never  been  able  to  see  why  a 
woman  should  look  like  a  courtesan  just  because  she  hasn't 
her  dress  on. 

JANE 

Naida,  you've  become  a  Puritan. 
[12] 


NAIDA 
I  always  was. 

JANB 

(Knowingly.) 
Ah,  la,  la,  la,  la. 

NAIDA 
Oh,  well,  maybe  not  in  the  strictest  sense. 

JANE 

That's  better.    Here's  another  from  Corinne.    You  mean 
to  say  you've  been  married  .    .    .  how  long  is  it,  anyway? 

NAIDA 
Three  weeks. 

JANB 

You've  been  married  three  weeks  and  you  don't  know 
where  your  husband's  money  comes  from? 

NAIDA 
No,  I  don't  know.    What  difference  does  it  make? 

JANE 

Well,  I  would  want  to  know.     He  might  steal  it  for  all 
you  know. 

NAIDA 
Oh,  I  know  he  doesn't  do  that. 

JANB 
How  do  you  even  know  he's  rich? 

NAIDA 
I  don't.     (Takes  dresses  into  room  right  again.) 

JANB 

Why  for  all  you  know,  all  this  .  .  .  this  hotel  and  all  ... 
[13] 


this  might  just  be  honeymoon  grandeur.  You  may  have  to 
settle  down  to  some  little  furnished  room  and  a  professor's 
salary.  Did  you  ever  think  of  that? 

NAIDA 

No.  I  never  think  of  such  things.  Did  you  notice  how 
wonderfully  the  sun  is  shining?  It  is  almost  spring.  I 
can  feel  spring  in  the  air  today. 

JANE 

I  suppose  those  Adams  people  who  helped  you  will  cut 
you  off  now  that  you  have  a  husband. 

NAIDA 

Oh,  they  won't  send  me  any  money  any  more.  In  fact, 
I  have  begged  them  not  to. 

(There  is  a  knock  at  the  door.) 
What  kind  of  a  cocktail  do  you  want? 

JANE 
I  don't  care  ...  a  bronx. 

(Naida  goes  to  the  door  and  gives  the  servant  the 
order  and  receives  from  him  a  florist's  box.) 

NAIDA 
Oh,  look,  Jane.    Roses! 

JANE 
How  do  you  know  they're  roses? 

NAIDA 
Oh,  I  know  it. 

(Opens  box.) 

I  told  you.    Look !    La  France  roses.    They're  the  sweetest 
of  all. 

There  is  a  letter,  too.     You  don't  mind  if  I  read  it,  do 
you,  Jane? 

[14] 


JANE 

Go  ahead. 

(She  arranges  flowers  in  a  vase.) 

NAIDA 

(who  has  read  the  letter  intently) 
Oh,  Jane! 

JANE 
I  see  .   .   .a  love  letter. 

NAIDA 
I  am  the  luckiest  woman  in  the  world. 

JANE 
When  did  you  see  him  last? 

NAIDA 
This  morning  at  ten. 

JANE 
And  now  it's  five  ...  a  box  of  roses  and  a  letter. 

NAIDA 
Is  it  ridiculous? 

JANE 
No  .  .  .  it's  honeymoon. 

NAIDA 

Oh,  please  don't  use  that  stupid  word.    I  hate  it.    I  hate 
marriage  for  that  reason. 

JANE 

You  hate  marriage? 

NAIDA 

Yes,  everything  is  so  regulated.     Everything  is  so  trite. 
Everyone  you  meet  is  always  ready  to  tell  you  all  about  it. 

[15] 


JANB 
Now  I  understand. 

NAIDA 
What  do  you  understand,  Jane? 

JANE 

Nothing.  Don't  you  think  we  ought  to  get  some  water 
for  the  roses? 

NAIDA 

You  mean  tomething  about  me  ...  Alice  told  you 
then  .  .  . 

JANE 
Well,  she  did,  if  you  want  to  know  it. 

NAIDA 

I'm  not  ashamed  of  what  Alice  told  you  .  .  .  they  all 
knew  it.  You  mean  that  I  lived  with  David  three  months 
before  we  were  married. 

JANE 

I  am  not  holding  that  up  against  you,  Naida.  Heavens, 
I  don't  care  about  such  things.  It  isn't  your  not  being  mar 
ried  that  surprised  me  ...  it's  your  getting  married.  Why 
did  you  do  it? 

NAIDA 
David.    He  hated  the  other  way. 

JANE 
Oh,  I  see  ...  then  he's  proper. 

NAIDA 

No,  he's  busy.  It  takes  a  great  deal  of  your  attention — 
the  other  way. 

[16] 


JANE 

(Laughing.) 
Oh,  Naida,  I  never  knew  you  were  a  cynic 

NAIDA 

But  we're  going  on  just  as  if  we  weren't  married.  I 
mean  ...  it  isn't  going  to  make  any  difference. 

JANE 
You're  set  on  being  happy,  is  that  it  ? 

NAIDA 

Oh,  yes.  That  is  the  only  thing  that  matters.  One  must 
have  that.  Never  make  a  compromise,  Jane.  Never  consent 
to  just  live  along.  I  will  never  do  that  again.  Now  that 
I  know  what  real  life  is. 

JANE 
What  is  real  life,  may  I  ask? 

NAIDA 

To  be  glad  of  every  breath  you  draw.  To  smile  as  you 
are  going  to  sleep  that  the  good  morning  will  surely  come 
...  the  blessed  day.  To  see  beauty  and  wonder  in  every 
thing.  Oh,  I  can't  tell  you.  It's  just  being  alive  .  .  . 

JANE 
Just  being  in  love,  you  mean. 

(As  there  is  a  knock  at  the  door.) 
My  little  bronx  is  knocking.    Go  let  the  little  darling  in. 

NAIDA 

(Going  to  the  door.) 
I  ordered  tea  for  myself. 

JANE 

He  doesn't  approve  of  cocktails? 
[17] 


NAIDA 

It  isn't  that.  But  I  thought  perhaps  the  idea  .  .  If  he 
came  in  and  saw  me  ...  We  have  these  queer  ideas,  you 
know,  about  the  people  we  care  for  ...  I  suppose  its  absurd. 
Is  yours  alright? 

JANE 

Smells  divinely. 

(Raises  her  glass.) 
To  your  grandchildren. 

(Drinks.) 

NAIDA 

When  we  first  came  here  we  used  to  have  our  breakfasts 
on  this  little  table. 

JANE 
Why  don't  you  still?     Is  there  anything  wrong  with  it? 

NAIDA 

Oh,  no.  David  got  tired  of  eating  up  here.  He  said  it 
made  him  feel  so  ...  rimminy-pimminy-Francesca  de 
Rimmini. 

JANE 
What  in  the  name  of  heaven  is  that? 

NAIDA 
It's  a  little  expression  of  David's. 

JANE 
So  he  has  little  expressions,  has  he? 

NAIDA 

That  is  the  only  one.  I  admit  it  is  rather  absurd.  Some 
how,  it's  like  David. 

JANE 

Has  he  a  black  mustache — sort  of  a  decided  black  mus 
tache  ? 

[18] 


NAIDA 
Why,  yes.    What  made  you  ask? 

JANE 

Oh,  nothing.  I  seem  to  see  him  with  a  small  black  mus 
tache.  Do  you  know,  I  imagine  he  hasn't  much  sense  of 
humor. 

NAIDA 
It's  a  rather  whimsical  sense  of  humor. 

JANE 
I  know  .  .  .  Rimminy  pimminy. 

NAIDA 
If  you  are  going  to  ridicule  my  husband. 

JANE 

(Laughing.) 

I'm  not  at  all.  I'm  making  fun  of  you.  Because  you  are 
so  happy — and  I'm  jealous.  This  cocktail  has  gone  to  my 
head  I  think.  I  suppose  the  first  thing  you'll  do,  Naida,  will 
be  to  have  dozens  of  babies  and  give  up  singing  entirely,  and 
all  of  your  ambitions  will  go  to  bang.  It  always  happens 
that  way. 

NAIDA 

Oh,  I  want  to  live,  Jane.  I'm  not  going  to  let  ambition 
cheat  me  out  of  life.  I  want  to  suffer  and  know  things. 
I'm  not  going  to  be  a  cold,  barren,  singing  machine.  You 
might  as  well  be  a  phonograph  if  you  are  going  to  order 
your  life  that  way. 

JANE 

Can  it  be  done?  It  takes  a  giantess  to  live  and  have  a 
career  at  the  same  time. 

NAIDA 
(Laughing.) 

I  am  going  to  be  a  giantess  then.  I  feel  strong  enough 
to  have  ten  careers. 

[19] 


JANE 

Look  out!     First  thing  you  know  you'll  be  wanting  to 
nave  ten  husbands. 

NAIDA 

Oh,  no  When  you  really  love,  Jane,  one  man  is  ten  men 
to  you.  He  is  always  changing  always  presenting  some  new 
wholly  ummagined  side.  Why,  the  other  day  David  was 
telling  me  about  his  student  days  in  Leipsic,  and  he  seemed 
then  like  an  entirely  different  person  .  .  .  some  one  I  had 
never  known  before. 

JANE 

So  he  went  to  school  in  Leipsic,  did  he?  I  suppose  he  is 
terribly  well  educated. 

NAIDA 

He  has  a  wonderful  brain.  Since  I  have  known  him  I 
have  regretted  that  I  never  had  an  education. 

JANE 

Thank  God  for  it,  Naida.  An  education  would  have 
ruined  you.  Well,  I  ought  to  be  going. 

NAIDA 
Stay  and  meet  David. 

JANE 
No  ...  I  can't 

(Opens  bag.} 

Oh,  my  dear,  would  you  believe  it  ...  I've  got  to  ask 
you  to  lend  me  some  money.  Do  you  think  I'm  awful? 

NAIDA 
Of  course  not,  Jane.     How  much  do  you  want? 

JANE 

You  haven't  twenty  dollars  have  you,  dearie? 
[20] 


NAIDA 
I  will  see. 

(Goes  into  room  left.) 

JANE 

It's  awfully  good  of  you.  I  haven't  forgotten  that  I  owe 
you  some  already.  You  always  were  so  generous.  You 
know,  aunt  is  always  worrying  about  me  in  New  York 

(Sighing.) 
I'm  perfectly  safe. 

NAIDA 
Here  it  is. 

JANB 
Thanks,  dearie.    This  will  help  out  wonderfully. 

(Gathering  her  things  together.) 

If  I  would  consent  to  debase  my  art,  I  could  go  into 
vaudeville  and  make  money.  It's  getting  harder  for  real 
trtists  every  day  .  .  .  It's  been  wonderful  seeing  you  again 
— so  happily  married. 

NAIDA 
Oh,  this  must  be  David  now.    Isn't  that  nice? 

(As  David  enters) 
This  is  Jane  Allen,  David.    This  is  David,  Jane. 

JANB 

Awfully  glad  to  know  you. 

DAVID  is  medium  height,  dark.  High  strung.  Spare 
body  with  head  somewhat  too  large.  Essentially  the 
thinker.  Something  of  the  aesthete.  He  is  absent 
minded,  detached,  but  at  present  quickened  by  NAIDA 
and  her  passionate  love  for  him.  He  carries  several 
medical  books. 

NAIDA 

Won't  you  stay  now,  Jane? 
No  .  .  .  can't.    Have  to  go  to  tea.    Did  you  know  Anna 

[21] 


Tree  has  a  job  at  the  New  York?  She  gives  them  classic 
music  with  their  cocktails.  I  suppose  nobody  listens  any 
way.  Don't  you  think  it  is  terrible  the  way  art  is  treated  in 
New  York  Mr.  Davis?  But  then  you  are  a  bi-lol-o-gist. 
Well  good  bye,  dearie.  Thanks  awfully.  Come  to  see 
me.  Good  bye. 

(She  goes  out.) 

.      NAIDA 
It's  been  such  a  bore.     I  hate  everyone  now  but  you. 

DAVID 

(Kissing  her.) 
We  are  getting  quite  impossible. 

NAIDA 

I  got  your  wonderful  letter.  You  are  so  marvelous.  I 
am  so  confused  with  all  this  happiness. 

DAVID 

I  wonder  why  it  is  that  happiness  always  suprises  us  ... 
unhappiness  never  does. 

NAIDA 

Oh,  don't  be  philosophical,  David. 
Let  me  look  at  you.     You  look  tired. 

DAVID 
I  am. 

(Sits  on  the  chaise  tongue  right.) 

This  is  the  first  day  I  have  been  seriously  to  work  since 
.  .  .  You  are  such  a  luxurious  little  thing,  Naida.  You 
never  know  what  it  is  to  feel  the  necessity  to  work.  I 
honestly  believe  you  could  spend  your  whole  life  lying  on  a 
couch  with  silk  cushions  and  perhaps  flowers  to  arrange  in 
tall  vases. 

NAIDA 

And  someone  to  dream  about. 
[22] 


DAVID 

(Laughing.) 

Of  course.  Now  tell  me  what  you  have  done  to  spend 
the  time  since  I  left. 

NAIDA 

Well,  let  me  see.  I  had  breakfast  .  .  .  that  was  about 
eleven.  Then  I  read  the  morning  paper.  Did  you  read 
about  the  new  scandal?  The  Hollister  murder? 

NAIDA 

It  is  the  usual  old  story.  The  right  remains  the  same, 
ished  by  society,  no  matter  whether  the  murder  was  justi- 
lished  by  society,  no  matter  whether  the  murder  was  justi 
fied  or  not. 

NAIDA 

But  if  he  was  insane?  Of  course  he  is  guilty.  I  suppose 
he  is  to  be  punished,  too.  But  David,  do  you  think  that  a 
man  who  adores  his  wife  can  know  of  her  infidelity  without 
going  practically  insane — for  the  time  being,  any  way? 
Think  of  yourself  .  .  . 

DAVID 

(Arranging  books  in  case,  right.) 

My  dear  child,  he  has  no  right  to  do  any  such  thing  .  .  . 
to  adore  her  to  the  point  of  insanity.  Two  people  come  to 
gether  because  they  have  certain  harmonious  traits,  certain 
qualities  in  common.  They  come,  because  of  these,  to  love 
each  other.  If  they  continue  to  love  each  other  these  traits 
mingle  and  bind  them  closer.  If  the  wife,  in  a  moment  of 
weakness,  yields  to  the  influence  of  another  man,  it  is  the 
husband's  place  to  discover  sanely  whether  his  wife  is,  in 
spite  of  all,  still  in  harmony  with  him.  He  may  discover 
that  she  is  ...  then  he  must  fight  for  her  fairly.  He  may 
discover  that  she  is  not,  then  he  must  give  her  up  to  the  other 
man.  It  seems  to  me  that  no  love  is  worth  anything  at  all 
if  you  are  to  accept  it  as  a  matter  of  course,  or  as  a  matter 
of  legal  ownership. 

[23] 


NAIDA 

But  you  speak  of  harmonious  traits  .  .  .  That  may  be  one 
kind  of  love  ...  but  I  don't  think  all  love  is  that. 

DAVID 

What  is  it  then  ? 

NAIDA 

Oh,  I  am  not  so  clever  at  definitions,  David.  I  can't 
reason  as  you  can.  But  love  ...  the  thing  that  brings 
people  together  .  .  .  Well,  I  don't  know  that  I  would  call 
it  harmony  of  traits. 

DAVID 

Well,  let  me  hear  your  definition. 

NAIDA 
It's  a  ...  sort  of  terrible  ...  a  sort  of  earthquake. 

DAVID 

(Laughing.) 
That  is  simply  a  result  of  love.    That  isn't  the  cause, 

NAIDA 
Yes,  yes,  you  don't  know  what  I  mean. 

DAVID 

(Sitting  beside  her.) 

Well,  let  us  leave  the  Hollisters.  What  did  you  do  after 
absorbing  the  scandal? 

NAIDA 
I  read  about  the  election,  too. 

DAVID 
You  were  never  interested  in  politics,  Naida. 

NAIDA 

I  mean  to  be,  though.  I've  tried  hard  to  remember  the 
names  of  all  those  men  concerned.  I  read  all  about  thjp 
election  before  I  even  touched  the  trial. 

[24] 


DAVID 

(Laughing.) 
As  a  sort  of  penance  for  your  pleasure. 

NAIDA 

Oh,  I  do  want  to  be  clever,  David.  I  hate  stupidity. 
Do  you  think  I  am  very  stupid,  David? 

DAVID 

(Not  reassuringly.) 
Not  at  all.    Not  at  all. 

NAIDA 
You  don't  say  that  very  reassuringly. 

DAVID 
I  think  you  have  a  good  mind,  Naida. 

NAIDA 

Don't  try  to  be  kind.  I  know.  I  know  how  to  sing  and 
I  know  how  to  be  charming.  That  is  all.  You  should  have 
married  a  wonderful  woman  who  could  talk  to  you  in  seven 
languages  about  everything  under  the  sun. 

DAVID 

Naida,  listen  to  me  for  a  moment.  I  want  to  talk  to  you 
to  plain  English  about  something  important. 

NAIDA 

Of  course.  But  what  could  you  have  to  say  to  me  that 
fe  important  .  .  .  except  that  you  love  me. 

DAVID 

There  is  something,  though.  I  was  on  the  street — just 
jumping  into  a  taxi  to  come  here  .  .  . 

NAIDA 
(Dr family.) 

You  see  I  got  your  roses,  David.  I  love  the  roses  you 
•end  me.  Please  always  send  me  roses. 

[2S] 


DAVID 
But  please  listen,  dear. 

NAIDA 
I  am  listening.     Go  on  .    .    .  what  did  you  say,  David? 

DAVID 

Naida,  I  am  afraid  I  have  done  something  I  said  I 
wouldn't. 

NAIDA 
David ! 

DAVID 

I  met  my  sister  on  the  street. 

NAIDA 

(Changed  at  once.) 
Your  sister?    Which  sister  is  that? 

DAVID 

My  married  sister?  The  whole  family  is  upset  on  ac 
count  of  our  .  .  . 

NAIDA 
Well,  go  on  .   .   .  our  marriage. 

DAVID 
You  see,  they  don't  understand. 

NAIDA 
Of  course  not.     Did  you  think  they  would? 

DAVID 

Well,  she  stood  there  talking  to  me.  In  fact,  she  made 
me  talk.  Oh,  well,  there  was  nothing  else  for  me  to  do. 
They're  in  town  .  .  . 

NAIDA 

David,  you  didn't  break  your  promise? 
]26[ 


DAVID 

She  kept  at  me  so  .   .   . 

NAIDA 

And  you  .    .    . 
(Rising.) 

Oh,  David! 

DAVID 
What  could  I  do?    I  had  to  ask  them  here. 

NAIDA 
Them? 

DAVID 
Yes,  my  mother  and  sister. 

NAIDA 

You  asked  them  here! 

DAVID 
Yes.    After  all,  it  is  only  natural,  dear  .  .  . 

NAIDA 

You  promised  me,  though.  You  know  how  I  feel  about 
families. 

DAVID 

But,  really  when  you  come  to  think  about  it,  isnt'  it  an 
unreasonable  feeling? 

NAIDA 
You  didn't  love  me  because  of  my  reasonableness,  did  you? 

DAVID 

But,  dearest  child,  you  must  think  reasonably  at  times. 
You  can't  go  on  forever  ...  no  one  can  .  .  .  in  a  sort 
of  ... 

NAIDA 
A  sort  of  what? 

[27] 


DAVID 
A  sort  of  romantic  dream,  I  suppose  you  might  call  it* 

NAIDA 

Why  don't  more  people?  Why  must  we  always  be 
reasonable? 

DAVID 
Because  of  other  people. 

NAIDA 
I  hate  other  people. 

DAVID 
I  know  you  do. 

NAIDA 

Other  people  are  always  trying  to  make  you  like  them 
selves.  Why  can't  I  be  like  my  own  self?  I'm  not  hurting 
anyone,  am  I? 

DAVID 

You  won't  have  to  see  them  often.  They  want  to  know 
you,  that  is  all.  Families  are  made  that  way.  They  want 
to  gather  in  all  who  are  near  to  those  whom  they  love. 
That  is  a  natural  thing. 

NAIDA 

I  know  your  sister  is  going  to  call  you  "Dave"  and  treat 
you  like  a  college  boy.  That  is  what  I  hate  so. 

,   DAVID 

(Laughing.) 
Oh,  sister  and  I  have  always  been  pals. 

NAIDA 

Yes,  that  is  the  worst  kind. 
So  they  are  coming  here  .   .   .  here. 

[28) 


DAVID 

Well,  I  could  scarcely  ask  them  to  see  us  downstairs, 
could  I? 

NAIDA 

You  don't  feel  these  things.  This  place  is  sacred  to  me. 
Everything  in  it  cries  out  about  our  love  and  how  gloriously 
happy  we  have  been  here.  Why  I  couldn't  stand  seeing 
Jane  here  today.  It  seemed  desecration. 

DAVID 
(Smiling.) 

Naida,  you  are  simply  a  child. 

NAIDA 
Oh,  please  don't  laugh  at  me.     When  are  they  coming? 

DAVID 

I  said  at  five  or  half  past.  I  knew  you  would  be  ready 
then. 

NAIDA 
I  must  change  my  gown. 

DAVID 

That  isn't  necessary  at  all.  You  look  charming  in  that, 
Naida. 

NAIDA 

I  know  I  do.  I  don't  want  to  look  charming.  I'm  going 
in  and  put  on  that  blue  thing  we  both  detest. 

DAVID 
And  you  say  you  aren't  a  child. 

NAIDA 

Well  perhaps  I  am,  if  being  a  child  is  to  feel  things  that 
other  people  don't  bother  about. 

(Embracing  him.) 

You  know  I  love  you,  my  dear,  my  dear.  How  can  I 
ever  make  you  understand  ? 

]29[ 


DAVID 
I  do.     Please  know  that  I  do. 

NAIDA 
No,  no,  no  you  don't.     Kiss  me. 

DAVID 

(Kissing  her.) 

Sometimes  I  wonder  if  I  did  wrong  ...  a  prossaic  college 
professor  to  ever  dare  to  want  you  .  .  . 

NAIDA 

You  are  so  far  above  me  .   ... 

DAVID 

Naida,  there's  something  I  haven't  told  you  .  .  .  some 
thing  that  may  hurt  you. 

NAIDA 
Hurt  me?    You,  David?    How  could  you  hurt  me? 

DAVID 

I  have  been  dishonest  with  you.  At  least  I  have  neg 
lected  to  tell  you  the  truth.  I  don't  know  why.  Perhaps 
I  thought  it  would  never  make  any  difference.  I  don't 
think  it  will. 

NAIDA 
But,  David,  what  is  it? 

DAVID 
I  don't  know  exactly  how  to  tell  you. 

NAIDA 
Is  it  so  terrible,  then? 

DAVID 

No,  no,  it  isn't.  It  is  something  absurd.  Just  one  of  those 
things  that  really  don't  count.  And  yet  they  are  so  powerful, 
so  deadly  powerful. 

[30] 


NAIDA 
Why,  David,  I  haven't  an  idea  of  what  you  can  mean. 

DAVID 

Naida,  dear  .  .  .  Do  you  consider  me  a  part  of  your  very 
self  ?  Am  I  that  near  to  you  ?  Are  we  really  one  ? 

NAIDA 
(Earnestly.) 
You  know  that! 

DAVID 

Yes.  It  is  simply  this  ...  I  should  have  told  you  before. 
Now  that  my  people  are  coming  you  must  know  .  .  .  We 
are  Jews,  Naida.  I  am  a  Jew. 

(Naida  draws  away  in  silence.  Her  face  is  difficult 
to  read.  She  seems  stunned.  David  watches  her 
anxiously.) 

DAVID 
Naida,  it  does  make  a  difference.    You  do  care! 

NAIDA 
(Slowly.) 

No,  David.  No,  it  doesn't  ...  It  really  doesn't  make 
any  difference. 

DAVID 

That  is  just  like  you.  I  knew  you  would  be  big  and 
generous  as  always. 

(Kissing  her  hand.) 
Thank  you. 

NAIDA 

But  it  is  strange  all  the  same.  I  can't  help  thinking  of  it. 
You  don't  seem  like  a  Jew,  David. 

DAVID 

(Bitterly.) 

A  Jew  has  a  heart  and  a  brain  like  any  other  man. 

[31] 


NAIDA 

That  is  why  you  didn't  tell  me.  You  are  ashamed  of  it 
then. 

DAVID 

Perhaps  I  am.  Oh,  I  could  forget  .  .  .  But  I  am  never 
allowed  to  forget.  Ever  since  I  was  a  small  boy  I  have 
had  it  thrust  into  my  face,  "Jew!  Jew!  Jew!"  when  I  was 
trying  with  all  my  soul  to  be  a  man. 

NAIDA 

David,  I  want  you  to  know  that  I  don't  feel  that  way  at 
all,  that  to  me  it  doesn't  make  a  particle  of  difference  what 
you  are  as  long  as  you  love  me  and  I  love  you. 

DAVID 
Oh,  how  good  you  are! 

NAIDA 

You  don't  have  to  be  grateful.  It  is  I  .  .  .  I  am  the  one 
to  be  grateful  to  you  for  even  noticing  me. 

DAVID 
I  want  to  tell  you,  Naida  ...  my  best  friends  .   .   . 

NAIDA 
Yes,  David,  your  friends  .   .   .  Are  they  Jewish,  too? 

DAVID 
No.    I  have  always  avoided  them. 

NAIDA 
You  have  avoided  them! 

DAVID 

I  know.  I  know.  It  is  wrong  of  me.  The  whole  feeling 
is  wrong.  It  is  narrow  and  mean  and  it  goes  on  breeding 
narrowness  and  meanness.  There  is  no  ending  to  the  hide- 
ousness  of  this  feeling.  Why,  look,  it  has  even  made  me 
lie  to  you! 

J32[ 


NAIDA 

Come  now,  don't  let  us  talk  about  it  any  more.  It  is 
buried  as  far  as  we  are  concerned.  There  is  the  telephone 
ringing  in  our  room. 

DAVID 

(Going  right.) 

They  must  be  downstairs  now.  Shall  I  ask  them  to 
come  up? 

NAIDA 

Yes.  And  I  have  forgotten  to  change  my  dress.  Well, 
that  would  have  been  a  petty  thing  to  do,  anyway. 

DAVID 
I  forgot  to  tell  you  that  my  younger  sister  is  coming,  too. 

NAIDA 

Oh,  your  younger  sister  is  coming,  too.  What  is  her 
name? 

DAVID 

Ruby.  You  will  like  her.  She  was  a  very  sweet  child, 
but  lately  she's  been  taking  up  art. 

All  right,  send  them  up.     (Enters  room  again.) 

NAIDA 
Was  it  they? 

DAVID 
Yes,  they  are  coming  right  up. 

(Going  to  her.) 

Please  don't  be  so  serious  about  it.  Meeting  your  hus 
band's  people  is  one  of  the  things  we  have  to  go  through 
with.  Try  to  be  more  worldly. 

NAIDA 
That  is  exactly  it. 

[33] 


DAVID 
I  don't  know  what  you  mean. 

NAIDA 
I  think  they're  at  the  door. 

DAVID 

This  must  be  they  now.     I  hope  you'll  like  Eva   . 
that's  my  married  sister. 

(At  the  door — outside.) 

Hello.  Hello,  mamma.  Ruby  .  .  .  Eva  .  .  .  Come  in 
.  .  .  Come  right  in  ...  Yes,  she's  here. 

MRS.  DAVIS  is  very  fat.  She  has  dark  brown  eyes 
filled  with  fire.  She  is  stubborn,  violent  in  everything: 
sentimental,  narrow  minded,  weak,  generous  and  mis 
understood  by  everyone.  She  speaks  with  quite  a  Ger 
man  accent. 

EVA  is  quietly,  correctly  dressed,  which  completely 
expresses  her,  as  she  is  quiet  and  correct. 

RUBY  is  quite  pretty  and  young  even  for  sixteen. 

MRS.  DAVIS 

David,  I  suppose  I  should  spank  you.  Ach,  vat  a  surprise 
for  us  all.  To  go  ant  get  yourself  a  vife!  Veil,  vere  is  she? 
Vere  is  de  new  Meeses  Davis? 

NAIDA 
I  am  very  glad  to  know  you,  Mrs.  Davis. 

MRS.  DAVIS 

Kiss  me,  my  dear.  You  are  my  daughter  now.  Remem 
ber!  She  looks  like  Mrs.  Silbermann,  don't  she,  Eva,  about 
de  eyes? 

DAVID 
This  is  my  married  sister,  Naida,  Mrs.  Goldschmidt. 

NAIDA 

I  am  glad  to  know  you,  Mrs.  Goldsmith. 
T34] 


EVA 
How  do  you  do. 

DAVID 
And  this  is  Ruby,  the  baby. 

NAEDA 
How  do  you  do? 

(Ruby  giggles.) 

MRS.  DAVIS 

You  are  younker  dan  I  shoult  haff  imagined.  Davit  is 
tirty-five.  Aren't  you,  Davitt?  You  birt-day  comes  on  de 
twenty-first  of  September.  Yes,  you  vill  be  tirty-five.  Tink 
of  it!  Ant  now  he  iss  married!  Vere's  a  chair? 

(Sits.) 

Vat  a  pretty  room.  Ver  nize.  Say  someting,  Eva.  Davitt, 
I  must  say  you  are  very  comfortably  fixed  here. 

DAVID 
Here's  a  more  comfortable  chair,  mama.    Sit  here. 

MRS.  DAVIS 

Di  vill  do.  Ven  I  have  vonce  sat  down  I  don't  like  to 
get  up  in  a  hurry.  I  have  been  having  trouble  mitt  my 
legs,  Davitt.  Look  at  dem,  all  swollen  out.  De  doctor 
don't  seem  to  know  vat  de  trouble  is.  It  comes  from  my 
stomach,  he  tinks.  He  says  I  eat  too  much.  But  dat  isn't 
so?  Is  it,  Eva? 

(Without  giving  her  time  to  reply.) 
Vat  do  you  pay  here  ? 

DAVID 
Oh,  it  isn't  as  expensive  as  it  looks. 

MRS.  DAVIS 
Very  nize.     Isn't  it,  Eva? 

EVA 

Very. 

MRS.  DAVIS 

How  long  have  you  been  here,  Davitt? 
[35] 


DAVID 
Just  .   .   .  how  long  is  it,  Naida?    You  would  remember. 

NAIDA 

Oh,  I  don't  know  exactly.  You  get  a  very  nice  view  from 
Fifth  Avenue  from  the  windows  here. 

MRS.  DAVIS 

I  suppose  you  enchoy  Fifth  Avenue — like  most  young 
vomen  ?  Veil,  dat  passes  off  ...  like  udder  tings.  Davitt, 
I  am  tinking  of  giving  up  de  city  house.  Too  much  egspense. 
Vat  do  we  vant  mitt  a  house  in  de  country  and  von  in  de 
city  ?  I  don't  enchoy  de  city  at  all.  I  am  miserable  de  whole 
time.  Noise,  people,  egspense,  no  sleep  .  .  .  And  vat  do  you 
get?  Netting.  Simply  notting.  De  opera  vonce  a  week 
and  a  lot  of  strangers  coming  to  dinner.  Now  in  de  country 
I  have  a  fine  beeg  room  to  myself,  I  have  peace  ant  quiet, 
plenty  of  servants  and  a  goot  furnace  and,  please  Gott,  some 
day  I  vill  haff  grantchildren  to  run  around  de  olt  place  ant 
keep  me  company.  What  more?  Isn't  it  so,  Eva? 

EVA 
But  you  have  grandchildren  now,  mamma. 

MRS.  DAVIS 

I  mean  a  great  deal  of  grantchildren  .  .  .  hundreds  of 
grantchildren.  Isn't  dat  so,  Davitt? 

DAVID 
Of  course,  of  course,  mama.    How  is  auntie? 

MRS.  DAVIS 
(Shrugs.) 

Oh,  she  iss  de  same.  Vat  can  you  do?  She  alvays  com 
plains.  She  puts  her  interference  into  everyding  as  usual 
She's  veil.  She  hass  a  big  appetite.  Mrs.  Solomon  vas 
asking  for  you  de  udder  day,  Davitt.  Vasn't  she,  Eva? 

EVA 

Oh  yes.    She  always  admired  you  so  much,  David. 
[36] 


DAVID 
That  is  very  kind  of  her. 

(To  Naida.) 
An  old  neighbor  of  ours  in  the  country. 

MRS.  DAVIS 

Very  rich  people.  Very  old  Jewish  family.  But  ve  are 
forgetting  de  bride.  Naida  .  .  .  Iss  dat  your  real  name? 
Naida!  I  never  heard  Naida  before.  Vat  does  it  mean? 
Anything?  Iss  it  a  Russian  name  or  an  English  name? 
Vat  kind  of  a  name  iss  it? 

NAIDA 
It  is  a  stage  name. 

MRS.  DAVIS 
A  stage  name! 

(Shocked.) 
Are  you  on  de  stage,  den? 

NAIDA 
I  was  studying  for  the  operatic  stage. 

MRS.  DAVIS 
(To  Eva.) 

She  vass  studying  for  de  operatic  stage. 
So!     Tink  of  dat  den!     Vat  iss  your  real  name,  den,  if 
it  isn't  Naida? 

NAIDA 
My  real  name  is  Ada. 

MRS.  DAVIS 

So!  Your  real  name  is  Ada.  And  vat  made  you  change 
your  name?  Vasn't  Ada  goot  enough  for  you? 

NAIDA 

My  name  was  plain  Ada  Jones.  I  know  no  one  would 
ever  pay  to  hear  plain  Ada  Jones  sing,  so  I  simply  added 
an  i  and  an  n  and  made  it  Naida. 

[37] 


DAVID 
But,  dear,  I  didn't  know  that  your  name  was  Ada. 

NAIDA 
We  never  talked  about  it,  David. 

MRS.  DAVIS 

You  never  talked  about  vedder  her  name  was  Ada  or 
Naida! 

(To  Naida.) 

Veil,  Ada,  your  name  vas  Jones.     So  you  aren't  a  Jewish 
girl,  are  you? 

NAIDA 
No,  Mrs.  Davis.     And  every  one  calls  me  Naida  now. 

MRS.  DAVIS 

(Stops  to  think,  then  turns  to  David.) 
So.    Veil! 

Davitt,  ve  read  de  article  about  you  in  de  Sunday  pabers. 
Ve  vere  all  so  proud,  of  course.  Papa  vass  pleased  to  dett. 
Poor  papa,  he's  been  feeling  sick.  His  kidneys  trouble  him. 
Don't  you  ever  tink  of  poor  papa,  Davitt?  He's  alvays 
tinking  about  you.  Ven  iss  Davitt  coming  home?  Vy 
doesn't  Davitt  come  to  see  me?  Isn't  dat  so,  Eva? 

EVA 

Papa  feels  very  badly  that  you  don't  come  to  see  us  all 
and  bring  .  .  .  Naida. 

DAVID 

I  don't  see  why  he  should  feel  hurt  at  my  not  coming. 
I  have  been  home  so  little  in  the  past  year  ortwo.  I  have 
always  had  my  own  place  in  town  in  the  winter. 

MRS.  DAVIS 

You  young  people  never  tink  of  family  ties.  I  suppose 
your  mudder  is  living,  Ada? 

NAIDA 

No,  my  mother  died  when  I  was  a  baby. 
[38] 


MRS.  DAVIS 
Vas  your  mudder  an  American? 

NAIDA 
No. 

MRS.  DAVIS 
Vat  was  she? 

NAIDA 
My  mother  was  French. 

MRS.  DAVIS 
So.    To  tink  of  Davitt's  marrying  a  French  girl. 

DAVID 
Naida,  you  never  told  me  your  mother  was  French. 

NAIDA 
You  never  asked  me,  David. 

MRS.  DAVIS 
Veil!     Iss  your  father  living  den? 

NAIDA 
No.     My  father  died  when  I  was  young. 

MRS.  DAVIS 

Who  brought  you  up  den  ?  Somehotty  must  have  brought 
you  up. 

NAIDA 

An  American  woman  from  the  South.  She  brought  me 
from  England  when  I  was  still  a  child.  You  see  my  father 
was  part  Irish — but  we  always  lived  in  England. 

MRS.  DAVIS 
His  mudder  vass  Irish  den  ? 

NAIDA 

Oh,  no.     His  mother  was  Italian. 
F39] 


MRS.  DAVIS 

French,  English,  Irish,  Italian  .  .  .  Gott,  Davitt,  it  seems 
to  me  your  vife  is  everyting  but  Jewish. 

DAVID 

(Laughing.) 

What  difference  does  that  make?  We  are  all  Americans 
now. 

MRS.  DAVIS 

Of  course.  Vy  not?  I  am  not  old  fashioned.  Veil,  how 
long  are  you  two  expecting  to  stay  here?  Oh,  a  hotel  iss 
alright  for  honeymoons,  but  honeymoons  don't  last  forever. 
Life  is  not  all  tea  and  silk  cushions.  Ach,  don't  I  know  dat? 
I  had  a  honeymoon,  too.  I  haff  not  forgotten.  Your  fadder 
has  tonsilitis.  I  could  not  get  near  him  for  weeks. 

(Turning  impatiently  to  Eva.) 
Vy  don't  you  say  someding? 

RUBY 
Don't  you  think  we  had  better  be  going,  mama? 

NAIDA 
(To  Ruby.) 
David  tells  me  you  are  studying  art.    Do  you  like  it? 

RUBY 
Oh,  yes,  very  much. 

MRS.  DAVIS 

She  makes  very  nize  little  trawings.  Although  I  don't 
approve  of  de  nude.  It  teaches  young  beople  immodesty. 
De  body  is  meant  to  be  useful  not  ornamental.  Vy  are 
ve  so  ugly? 

DAVID 

Are  we  ugly?    Surely  not  all  ... 
(Ruby  giggles.) 

[40] 


MRS.  DAVIS 

Ruby!  De  art  school  is  taking  all  her  sensibilities  avay 
1  rawmgs  from  de  nude,  Greek  dancing  ...  is  dere  netting 
left  for  bnvate  life?  Veil,  we  must  go.  But  not  before  you 
bromise  to  come  out  to  Roselands  for  dinner.  Vy  not  plan  to 
spend  de  whole  summer  mitt  us?  Dat's  an  idea.  Papa 
vould  be  in  Heaven.  You  can  haff  a  whole  ving  to  your 
selves.  You  can  safe  money,  Davitt.  And  dere's  de  labora 
tory.  Somebotty  asked  me  de  udder  day  ...  Vy  haff  you 
got  dat  shed  dere  ...  to  keep  elephants  in?  Ant  I  said,  no 
dat  iss  for  my  bug  hunter.  He  hunts  bugs  in  dere  and  sticks 
pins  ^  into  guinea  pigs  to  make  dem  squeal.  Veil,  veil.  I 
won't  make  fun.  I  know  dat  you  are  a  very  great  scientist. 
Oott,  vere  vould  de  voild  be  mittout  science?  Isn't  it 
so,  Ada? 

NAIDA 
Oh,  yes,  I  think  David's  work  is  very  important. 

MRS.  DAVIS 

Dat's  right.  Dat's  right.  I  am  glad  to  hear  it.  I  sup 
pose  you  are  very  fond  of  cooking  little  tings?  Davitt  used 
to  be  very  fond  of  my  strudel  and  hasenpfheffer. 

NAIDA 

I  ^really  have  had  very  little  practice  in  cooking,  Mrs 
Davis. 

MRS.  DAVIS 

Like  every  mottern  girl.  Take  Ruby,  now.  She  can 
cook.  But  does  she? 

(Seeing  the  table  with  the  cocktail  glass.) 
You  drink  cocktails  in  de  afternoon? 

(as  Naida  is  about  to  speak) 

Nevermint^  I  am  not  old  fashioned.  Veil,  goot  pye, 
Davitt.  Don't  forget  your  bromise  to  come  out  to  Rose^ 
lands  on  Sunday.  Ve  *hall  egspect  you.  Papa  can't  vait 
to  see  Ada. 

[41] 


NAIDA 
But  my  name  is  Naida. 

MRS.  DAVIS 

No,  I  can  never  remember  to  add  an  i  and  an  n.  Ada 
iss  goot  enough  for  me.  Goot  pye,  my  dear. 

(Shakes  hands  with  Naida.) 

I  am  sure  you  are  going  to  make  my  poy  a  very  goot  vife. 
After  all,  dat  is  vat  matters,  isn't  it?  Come,  Ruby.  Vy 
can't  you  say  someting? 

RUBY 

(reaching  out  her  hand) 
Good  bye,  Naida. 

NAIDA 
Good  bye,  Ruby. 

EVA 

Good  bye,  Naida. 

NAIDA 
Good  bye,  Mrs.  Goldsmith. 

MRS.  DAVIS 
Schmidt!     Golds  c  hmid  t ! 

DAVID 

(kissing  her) 
Good  bye,  mama. 

MRS.  DAVIS 

(Affectionately.) 

Goot  pye,  my  son.  It  gives  me  a  treat  to  see  you  again. 
You  never  tink  of  your  poor  old  mama,  do  you?  And  you  n 
all  I  haff,  since  Eddie  died.  It  vass  his  birttday  yesterday. 
Did  you  go  out  to  de  grave? 

DAVID 
No,  mama,  I  ... 


MRS.  DAVIS 

You  see!     Dat  iss  vat  love  iss.     Forget  everyting!     So! 
Veil,  goot  pye.     I  forgive  everyting.     Be  happy.     No,  don't 
odder  to  go  out  mitt  us.    Go  to  Ada. 
( They  all  go  out. ) 

DAVID 

(Who  goes  out  with  them,  nevertheless—returning.} 
r'oor  old  mama ! 

(Laughs.) 
Isn't  she  funny? 

NAIDA 
Oh,  quite. 

DAVID 

She  gets  so  much  excitement  out  of  life.  She's  always 
like  that.  She  has  the  biggest  heart  in  the  world,  too. 
Generous  .  she  d  give  anything  away.  Little  Ruby  has 
grown,  too.  Quite  a  young  lady.  I  haven't  seen  her  since 
she  came  back  from  boarding  school.  She's  just  at  the  silly 
age,  isn't  she? 

NAIDA 
bhe  seems  rather  silly,  yes. 

DAVID 

You'll  like  Eva  when  you  get  to  know  her.  She  has  a 
very  strong  character.  She  really  rules  mama.  That  is  whv 
she  gives  in  to  her  in  everything.  She  has  three  wonderful 
children.  Didn't  you  like  her? 

NAIDA 
Oh,  very  much. 

DAVID 

I  am  glad.  I  thought  you  would.  Shall  we  go  out  there 
ounday. 

NAIDA 
Do  you  want  to  go,  David  ? 

[43] 


DAVID 

I  think  we  should.  Yes,  I  would  enjoy  it  in  a  way.  After 
all,  your  own  people  do  mean  a  great  deal  to  you.  And  you 
would  want  to  see  the  place  .  .  .  It's  a  fine  old  place  .  .  . 
And  my  old  room  I  used  to  have  .  .  .  and  the  laboratory 
.  .  .  and  auntie  .  .  .  Auntie  would  be  terribly  hurt  if  we 
didn't  go. 

NAIDA 

You  have  decided  to  go,  then? 
DAVID 

Not  unless  you  want  to,  dear.  You  don't  want  to  go, 
do  you? 

NAIDA 
(Quickly.) 
Yes,  yes,  of  course.    Why  not? 

DAVID 

(Thinking  pleasantly  of  his  family  affection,  not 
noticing  that  Naida  is  sitting  staring  ahead  of  her, 
trying  to  control  her  feelings.) 

You'll  see  then  how  funny  mama  really  is.  We  all  laugh 
at  her.  You  should  see  her  in  one  of  her  tirades.  She 
storms  around  in  a  perfect  whirlwind,  sputters  in  German, 
berates  everyone  .  .  .  then  Eva  comes  along  .  .  . 

(Seeing  Naida 's  face.) 
Why,  what  is  the  matter? 

(Naida  jumps  up.  She  seems  about  to  speak,  then 
strides  across  the  room  and  into  the  bedroom,  bang- 
ing  the  door  and  locking  it.) 

CURTAIN 

ACT  II 

SCENE:     Room  at  Roselands.     Large  arched  door  at  left, 
back.     This  leads  to  a  terrace  which  leads  in  turn  to  a 
[44] 


garden  below.  Another  arched  door  at  right  back. 
Small  arched  door  at  left,  back.  This  leads  to  the 
front  of  the  house.  Terra  cotta  fireplace  at  right  well 
forward.  The  walls  are  hung  with  tapestry.  The 
furniture  is,  for  the  most  part,  Italian.  A  couch  well 
forward  right.  About  this  are  grouped  several  com 
fortable  chairs.  A  small  table  to  the  left  of  the  couch 
holds  a  lamp  and  books.  Behind  the  couch  a  long  table 
with  two  lamps.  A  large  modern  American  chair  is 
placed  conspicuously  forward.  At  left  there  is  an  old 
carved  walnut  chest.  A  small  table  of  odd  shape  holds 
several  marble  figures  and  a  box  of  painted  wood.  At 
right,  well  forward,  against  the  wall,  there  is  a  small 
pulpit  from  a  church.  It  is  a  beautiful  September  eve 
ning  after  dinner.  JACOB  DAVIS,  a  small,  grizzled,  old 
Jew,  of  the  gentle,  almost  effeminate  type,  is  enjoying 
his  after-dinner  coffee  and  cigar  in  the  company  of  his 
sister,  who  sits  on  the  couch  knitting.  She  is  an  erect 
little  creature  with  the  body  and  face  of  a  child,  for  all 
her  sixty-five  years.  She  is  always  called  AUNTIE  in 
the  family. 

JACOB 

Its  just  like  we  sit  in  de  olt  country,  isn't  it,  Christianne? 
You  pizzy  at  some  tammed  knitting  and  I  bretending  to  read 
de  baper.  Only  look  at  de  room.  Whoever  would  have 
tought  of  such  a  room  in  de  olt  country? 

AUNTIE 

(Counting  her  stitches.) 

Von,  too,  tree,  four,  fif  .  .  .  It  iss  nize  sitting  like  dis 
mitt  you,  Jacob.  Since  my  brudder's  become  such  a  great 
man  he  never  hass  time  for  his  poor  olt  sister  Christianne. 

JACOB 
Don't  talk  such  foolishness. 

AUNTIE 

Such  bright  nights.     I  cannot  sleep.     I  jump  up.       I  lie 
[45] 


down.    Alvays  de  moon.     I  tink  of  udder  times. 

(Sighs.) 

Batt  to  grow  old.  Nopotty  cares.  Alvays  de  young 
beople.  Day  hate  you,  and  day  are  alvays  so  kind.  Auntie 
dis,  Auntie  dat!  Dear  Auntie!  Ant  day  vish  I  vass  deatt 
alreatty. 

(Sighs.) 
Put  I  can't  complain. 

JACOB 
Den  vy  do  you? 

AUNTIE 
Vere  are  my  glasses? 

JACOB 

(Hunting  for  them.) 
Now  you  haff  lost  your  glasses  again. 

(He  looks  for  the  glasses.) 
Vat's  dat — pinned  on  your  vaist? 

AUNTIE 
My  glasses! 

(She  puts  them  on.) 

Lena  vill  never  haff  any  light  in  de  house.  It's  stylish 
not  to  see  vat  you  are  doing.  Put  I  can't  complain. 

JACOB 
How  iss  your  heart? 

AUNTIE 

My  heart?  Last  week  ven  you  were  gone  away — den  I 
had  a  batt  attach.  Very  batt.  Since  den  .  .  .  Veil,  I  am 
alive,  I  subbose.  It  von't  pe  long,  dough,  before  I  ... 

JACOB 

Vat  a  vay  to  talk  now!  Vy  you  haff  a  long  time  to  live 
yet.  Don't  your  olt  brudder  take  goot  care  of  you — vat, 
Christianne? 

[46] 


AUNTIE 

Lena  don't  care  vat  pecomes  of  me.  She  iss  alvays  so 
pizzy.  I  am  not  allowed  to  do  a  ting  in  de  house.  I  am 
treated  like  an  olt  piece  of  rubbish.  If  I  am  in  de  liprary, 
den  it's  de  liprary  must  pe  cleaned.  If  I  am  sitting  in  de 
borch— den  it's  de  borch.  Ant  I  am  never  allowed  to  help 
any  more.  Vy  dey  don't  even  allow  me  in  de  kitchen.  And 
a  French  cook!  Whoever  heard  of  a  French  cook,  Jacob! 

JACOB 
Oh,  veil,  Lena  don't  mean  anyting. 

AUNTIE 
Such  noodles!     Like  leader!     Like  leader! 

EVA 

(Enters.) 

Well,  papa,  you  two  old  cronies  gossiping  after  dinner? 
Where's  Herman? 

AUNTIE 

Efa,  who's  dis  Doctor  Mackenzie  who  vass  here  for 
dinner? 

EVA 

He  is  David's  chief  at  the  laboratory.  David  met  him  at 
the  golf  club  today  and  brought  him  to  dinner,  Auntie. 

AUNTIE 
I  don't  like  him. 

EVA 
Papa,  have  you  seen  Herman? 

JACOB 

No,  darling.  Vy  must  you  alvays  pe  looking  for  dat  goot 
for  notting  husband  of  yours?  Heah? 

EVA 

Because  Barbara  has  a  stomach  ache  and  she  must  have 
some  castor  oil. 

[47] 


JACOB 
Castor  oil    Vat  hass  Herman  to  do  mitt  castor  oil  ? 

EVA 
He  always  gives  it  to  her.     I  wonder  where  they  went, 

JACOB 
Oh,  I  see,  a  sentimental  reason.    Dat's  right. 

JACOB 

I  heard  mama  say  someting  about  David's  animal  house 
over  dere. 

EVA 

Oh,  of  course.  They've  gone  over  to  David's  laboratory. 
Will  you  tell  Herman  to  come  right  up,  papa? 

JACOB 
Vy  don't  you  go  ant  get  him,  Eva? 

EVA 

Oh,  no.  If  I  do  they  will  make  me  come  back  and  play 
bridge.  You  know  mama  can't  sleep  unless  she  has  her 
game  of  bridge.  No  one  realizes  how  serious  a  matter  it 
is  to  bring  up  children. 

(She  goes  out,  left.) 

JACOB 

(Rising.) 

I  vill  go  ant  get  him  myself.  It's  a  shame,  to  go  avay 
ven  de  papy  needs  castor  oil. 

(He  goes  out,  right.) 

AUNTIE  sits  knitting.  When  DOCTOR  MACKENZIE 
and  DOCTOR  HOTCHKISS  enter,  she  rises  stiffly,  going 
out  right.  MACKENZIE  is  a  handsome  man.  He  is  not 
tall,  but  well  built  and  strong.  He  is  of  the  type  we 
call  American — strong  jaw,  small  nose,  small  brilliant 
eyes,  smooth  face,  and  clear  ruddy  complexion.  HOTCH- 
KISS  is  tall  and  angular.  He  wears  glasses.  His  nose 
is  a  little  pink  from  bad  digestion.  He  is  in  evening 
dress.  MACKENZIE  wears  a  tweed  golf  suit  which  is 
very  becoming.  They  are  both  smoking. 
[48] 


MACKENZIE 
(Looking  about.) 

Not  a  bad  room.  Not  bad  at  all.  House  isn't  bad.  I'm 
quite  surprised.  Of  course  they  may  have  overstepped 
themselves  here  and  there  .  .  . 

HOTCHKISS 

I  wonder  why  it  is  that  most  of  us  feel  ourselves  superior 
to  the  Jew — and  especially  if  he  is  rich. 

MACKENZIE 
Well,  aren't  we? 

HOTCHKISS 

(Ignoring  the  question — examining  a  chair.) 
This  is  an  original.     Very  rare — with  that  splat. 

MACKENZIE 

And  do  you  know,  it's  the  Jew  himself  who  makes  us 
feel  that  way?  Even  the  best  Jew  is  conscious  of  being  one. 
And  that  is  exactly  where  he  trips  himself  up.  He's  always 
making  excuses  for  himself  ...  or  defending  himself. 

HOTCHKISS 

I  don't  see  how  anyone  could  feel  himself  superior  to 
Davis — I  mean,  the  Doctor. 

MACKENZIE 

Davis?  As  a  scientist  .  .  .  Well,  in  the  last  few  years 
Davis  has  surpassed  himself.  He  is  not  a  brilliant,  forceful 
man  but  he  is  the  kind  who  works  underground  for  precious 
metal.  Sometimes,  do  you  know,  I  am  almost  jealous 
of  him? 

It's  a  funny  thing,  though  .  .  .  When  Davis  and  I  are 
side  by  side — say  we  walk  out  together — I  mean  just  the 
physical  thing  .  .  .  Davis's  blood  is  always  seeming  to  make 
excuses  for  itself.  I  can  feel  my  personality  take  hold  of 
him.  Oh,  there  are  such  things!  He  envies  me  because  I 
am  not  of  a  race  of  martyrs.  He  recognizes  me  as  a  superior 
animal. 

[49] 


HOTCHKISS 

That  is  simply  physical  magnetism.  You  exercise  that 
over  many  people. 

MACKENZIE 
My  dear  Hotchkiss,  Davis  is  not  a  woman. 

HOTCHKISS 
(Laughs.) 
You  haven't  changed,  Mackenzie. 

MACKENZIE 

(Looking  about — sees  the  pulpit.) 
What  in  the  name  of  common  sense  is  that? 

HOTCHKISS 

It's  an  old  pulpit  .   .   . 
(Going  to  it.) 

MACKENZIE 
What  is  it  doing  here  ? 

(They  examine  it  together.) 
Here's  an  auction  number.    It's  the  old  man's  latest  prize, 

(Laughs.) 
He's  bought  the  pulpit  from  an  Italian  church. 

HOTCHKISS 

Fine  one,  too.  I  should  say  it  was  about  fourteenth 
century. 

(Examines  it  fondly.) 

MACKENZIE 

To  think,  Hotchkiss,  that  a  man  of  God  has  tread  these 
stairs,  his  head  buzzing  with  platitudes  .  .  .  and  now  it 
belongs  to  our  old  diamond  merchant  who  bought  it  at  an 
auction  .  .  . 

HOTCHKISS 

And  paid  the  price  of  the  church  for  it,  I  warrant. 
[50] 


MACKENZIE 
Do  you  suppose  it  really  means  anything  to  him? 

HOTCHKISS 
You  can't  tell. 

MACKENZIE 

Look  at  the  mantle,  if  you  please.  Copied  from  the 
Davenzatti  Palace.  And  before  it — lo — a  chair  from  Grand 
Rapids,  Michigan. 

HOTCHKISS 

He  probably  likes  it  because  it's  comfortable.  He  has 
worked  for  his  rest,  why  not? 

MACKENZIE 

He  needn't  go  to  sleep  in  the  drawing  room  even  if  he  is 
rich.  The  tapestries  are  fakes,  and  so  are  the  hanging  lamps. 
What  do  you  think  of  Davis's  wife? 

HOTCHKISS 
She  seems  very  nice. 

MACKENZIE 

She's  a  very  pretty  woman.  I  thought  her  gown  very 
attractive,  didn't  you? 

HOTCHKISS 
I  don't  know  as  I  really  noticed  it. 

MACKENZIE 

My  dear  Hotchkiss,  you  are  simply  a  biological  specimen. 
(Picks  up  a  book  of  poetry — an  edition  of  Mercure 

de  France.) 

Poems — French  .  .  .  Someone  has  been  scribbling  on  it 
in  French.  By  the  way,  their  cook  is  a  poet  himself.  I 
never  tasted  such  patties. 

HOTCHKISS 
Perhaps  the  poems  are  his. 

[51] 


MACKENZIE 
Perhaps.    Have  you  heard  her  sing? 

HOTCHKISS 
Just  a  minute  tonight — from  her  own  room. 

MACKENZIE 
How  was  it  ? 

HOTCHKISS 
Nice  voice,  I  thought. 

MACKENZIE 
Not  bad? 

HOTCHKISS 
No.    Not  bad  at  all.    On  the  contrary. 

MACKENZIE 

I  can't  say  how  relieved  I  am.  There's  nothing  worse 
than  a  woman  who  can't  sing — unless  it's  one  who  can.  Bj 
the  way,  Hotchkiss,  do  me  a  favor,  will  you? 

HOTCHKISS 
Well,  doctor? 

MACKENZIE 
Ask  her  to  sing — off  hand,  you  know. 

The  others  come  in  from  the  garden.  MRS.  DAVIS, 
MR.  DAVIS,  DAVID,  HERMAN  GOLDSCHMIDT,  NAIDA. 
HERMAN  is  the  pompous,  uncuous  type  of  Jew.  He 
affects  an  English  accent.  He  likes  to  talk  above  other 
people's  heads — and  his  own.  All  are  in  evening  dress. 
NAIDA'S  dress  is  expensive  and  very  low. 

MRS.  DAVIS  if  heard  off  stage  scolding  JACOB. 

MRS.  DAVIS 

Don't  take  it  off  now.  Keep  it  on  until  you  get  in  de 
house.  Such  a  papy!  You'll  catch  your  deatt  out  here  in 
de  damp,  don't  you  know  dat  ? 

[52] 


JACOB 

(Protesting.) 
I  am  alright.     I  am  not  a  papy. 

MRS.  DAVIS 

Didn't  I  hear  you  sneeze?  You  can't  fool  me.  Running 
oud  in  de  night  air  mittout  a  hat.  Whoever  heard  of  such 
foolishness ! 

JACOB  enters,  ivearing  MRS.  DAVIS'  fur  stole,  which 
she  keeps  tied  about  his  head,  in  spite  of  his  protests  and 
efforts  to  escape.  As  they  enter  he  sneezes. 

MRS.  DAVIS 

Dere!  Vat  did  I  tell  you?  Look  at  him!  Vouldn't  you 
tink  he  vass  olt  enough  alretty  to  take  care  of  himself? 
Valking  out  in  de  garden  in  dancing  shoes.  Whoever 
heard  .  .  . 

MACKENZIE 
We  have  found  where  the  cook  keeps  his  poetry — here  .  .  . 

MRS.  DAVIS 
(Exploding.) 

De  cook!  How  can  he  dare?  Vat  does  de  cook  haff  to 
do  in  de  trawing  room?  Jacob,  do  you  hear?  De  cook 
hass  left  hiss  book  in  here!  Yellow  French  boetry.  Gott, 
dis  iss  too  much! 

NAIDA 

Don't  be  absurd,  Mrs.  Davis.  This  is  my  book.  I  left 
it  in  here. 

MRS.  DAVIS 

You!  Den  .  .  .  Ach,  I  see!  It's  chust  anudder  of  your 
chokes,  Doctor  Mackenzie.  You  are  a  great  choker,  but 
blease  don't  give  me  such  shocks.  He's  independent  enough, 
de  cook.  De  udder  day  he  tried  to  make  me  eat  poisoned 
mushrooms. 

[53] 


HOTCHKISS 

Poisoned  mushrooms!     I  have  made  a  study  of  poisoned 
mushrooms. 

(Herman  enters  from  right.) 

MRS.  DAVIS 

Don't  be  scientific !     I  vill  not  pe  legured  to.     Goethe 
himself  could  not  make  me  eat  poisoned  mushrooms. 

HERMAN 
But  Goethe  is  dead,  mama. 

MRS.  DAVIS 

Don't  I  know  dat?     But  what  has  dat  to  do  mitt  toad 
stools? 

EVA 

(Entering.) 

Herman,  where  have  you  been?     I  never  knew  you  to 
run  off  that  way  when  Barbara  is  sick. 

HERMAN 
I  am  sorry,  dear,  but  how  was  I  to  know  she  was  sick  ? 

EVA 
Well,  you  might  have  guessed  it.     One  of  them  always  is. 

MRS.  DAVIS 
I  tolt  you  so! 

HERMAN 
What  is  wrong  with  her  now,  Eva  ? 

EVA 

She  has  temperature,  and  her  stomack  .   .   . 

MRS.  DAVIS 

Her  stomack  ...  I  knew  it.     She  doesn't  get  enough  to 
eat.     Dats  de  whole  trouble.     De  chilt  is  half  starved. 

(To  Mackenzie.) 

Vy  you  shoult  half  seen  her,  Doctor,  last  summer  ven  I 
had  her.     She  vas  as  fat  as  a  little  angel,  vasn't  she,  f adder? 

EVA 

That's  just  when  her  stomach  got  upset,  mama. 
[54] 


MRS.  DAVIS 

You  mean  to  say  /  upset  her  stomach!  I  upset  my  own 
grandaughter's  stomach!  Oh,  Efa,  how  can  you  stant  dere 
and  say  such  a  ting! 

HERMAN 

How  many  times  have  I  told  you,  mama,  that  Eva  and  I 
have  a  special  routine  for  our  children  and  that  if  anyone 
else  steps  in  ... 

MRS.  DAVIS 
(Indignant.) 

Step  in!  Step  in!  Any  von  else!  I  am  not  any  von  else! 
I  am  her  grantmudder.  I  tink  if  any  von  has  a  right  to 
spoil  her  stomach  I  haff. 

MACKENZIE 
Assuredly,  Mrs.  Davis. 

JACOB 

Veil,  vy  don't  you  do  someding?  Haven't  ve  trained 
nurses?  Vat  are  all  dose  starched  ghosts  sitting  around  for, 
anyvay?  -Vy  don't  day  pe  useful?  Vy  don't  somebody  giff 
Barbara  some  castor  oil? 

EVA 

Because  Herman  always  gives  it  to  the  children,  and 
Herman  was  out  in  the  laboratory  explaining  science  to 
Naida. 

NAIDA 
(Smiling.) 
So  that's  what  it  was. 

HERMAN 

I'll  come  right  away,  dear.  I  didn't  dream  Baby  was 
sick.  I'm  awfully  sorry,  you  know. 

DAVID 

I'll  go  up  with  you,  Herman.  Perhaps  there  is  something 
I  can  do. 

(Herman,  Eva,  David  go  out.) 
[55] 


MRS.  DAVIS 

I  spoil  her  stomach! 

Isn't  dat  an  awful  vay  to  talk  to  me?  As  if  I  ...  Veil, 
I  vill  not  go  near  her  now.  Dey  can  nurse  her  demselves. 

Vat  iss  wrong  mitt  mottern  barents,  Doctor  Mackenzie? 
Dey  tink  dey  know  everyding  about  dere  children.  You 
can't  teach  dem  anyting.  I  go  into  de  nursery  and  dere  are 
tree  nurses  sitting  arount  like  it  vas  a  funeral.  I  hear  my 
grantchild  screaming.  Nopotty  goes  to  it.  I  say — Vere  iss 
your  heart?  A  papy  iss  crying!  And  dey  say — Shh!  Let 
it!  And  den  ven  I  go  to  my  grantchild  dey  all  take  hold 
of  me  ant  drag  me  avay,  as  if  I  vass  a  devil.  Vy  iss  dat? 
Nature!  Dey  are  alvays  talking  about  Nature.  I  am  sure 
in  de  olt  country  ve  never  vorried  about  Nature  but  our 
children  grew  up  to  be  strong  ant  healtty. 

MACKENZIE 

Your  daughter  and  her  husband  believe  in  practicing 
modern  ideas  of  discipline. 

MRS.  DAVIS 

Mottern!  Mottern!  I  hate  vat  iss  mottern.  It  chust 
means  doing  some  funny  ting  because  nopotty  ever  heard  of 
doing  it  before.  Ada,  you  are  smoking  a  cigarette?  Look, 
papa,  Ada  iss  smoking  a  cigarette. 

HOTCHKISS 
(To  Mr.  Davis.) 

I  am  very  interested  in  your  antique,  Mr.  Davis.  That 
pulpit  is  extremely  interesting.  What  do  you  intend  doing 
with  it? 

JACOB 

I  don't  know.  Do  you  like  it?  My  tealer  bitt  for  it  by 
mistake.  But  of  course  ven  all  de  bapers  brinted  dat  I  had 
bought  it  I  vass  ashamed  to  send  it  back.  It's  bretty.  I  can 
put  it  in  de  music  room  beside  de  organ. 

MACKENZIE 

Oh,  no.    Some  day  you  must  build  a  room  around  it. 
f  56] 


JACOB 

Build  a  room  around  a  pulpit!     I  never  heard  of  such 
a  ting! 

MRS.  DAVIS 

Doctor  Mackenzie  is  chust  making  fun  of  you,  Jacob.    He 
iss  alvays  making  fun. 

MACKENZIE 

On  the  contrary.     I  would  enjoy  seeing  your  print  col 
lection,  Mr.  Davis.    I  hear  you  have  some  valuable  etchings. 

MRS.  DAVIS 

( To  Naida  as  Mr.  Davis  and  Mackenzie  and  Hotch- 

kiss  talk.) 
Ada! 

(Motions  about  the  cut  of  NaidaJs  dress.) 

NAIDA 
I  don't  know  what  you  mean,  Mrs.  Davis. 

MRS.  DAVIS 
Your  tress,  Naida.     Vy  all  de  men  are  looking  at  you. 

NAIDA 

(Out  of  patience — moving  away — to  Hotchkiss.) 
Wouldn't  you  like  to  look  at  my  father-in-law's  etchings? 
.   .  .  they're  in  the  next  room. 

HOTCHKISS 

I  should  enjoy  seeing  them  very  much,  of  course.     Has 
he  any  Whistlers  ? 

(They  go  out  talking.) 

MRS.  DAVIS 
Do  you  blay  auction,  Doctor  Mackenzie? 

MACKENZIE 
No. 

1S7[ 


MRS.  DAVIS 
Well,  Jacob,  I  subbose  we  might  as  veil  go  to  bett  den? 

JACOB 

Yes.     I  must  be  up  early  in  de  morning.     Doctor  Mac 
kenzie,  I  hope  you  vill  excuse  me. 
Good  night,  mama. 

(Kisses  her — goes  out  left.) 

MRS.  DAVIS 

(In  a  voice  full  of  emotion.) 
Doctor  Mackenzie,  ven  iss  my  poy  to  get  his  appointment  ? 

MACKENZIE 
Well,  Mrs.  Davis,  of  course  .  .  . 

MRS.  DAVIS 
Don't  start  in  to  make  egscuses. 

MACKENZIE 

There  are  many  considerations.  You  must  know  that, 
my  dear  lady.  You  must  understand  also  that  I  am  not  the 
voice  of  the  whole  university.  I  am  merely  a  member  of 
the  board  of  judges.  He  is  a  very  able  man,  of  course  .  .  . 

MRS.  DAVIS 

(Passionately.) 
Put  he  iss  a  Jew! 

MACKENZIE 
My  dear  Mrs.  Davis! 

MRS.  DAVIS 

Ach,  gott!  My  dear  Mrs.  Davis!  I  know  vat  I  see,  vat 
I  hear!  I  haff  ears.  Davitt  .  .  .  Davitt  knows  notting 
dat  goes  on.  You  can  insult  him  to  his  face  ant  he  vill  smile. 
He  hass  his  toughts — I  don't  know  vere.  He  iss  alvays 
treaming.  But  me — I  don't  tream.  Vy  dit  dey  appoint 
Doctor  Reilly  last  year  instead  of  Davitt,  ven  everybotty — 
even  de  newsbapers  saitt  dat  Davitt  vass  de  man  for  de 
blace? 

[58] 


MACKENZIE 

Reilly  was  an  older  man.  He  had  long  been  associated 
with  the  work  of  the  department.  It  was  only  natural  and 
right  that  he  should  receive  the  promotion  to  a  higher  place. 

MRS.  DAVIS 

Dat  he  could  not  full  ven  he  got  it.  He  vass  so  stupit 
dat  even  before  his  illness  Davitt  vass  doing  naff  his  vork 
and  his  own  vork  pesides. 

MACKENZIE 
Who  told  you  this? 

MRS.  DAVIS 

Not  Davitt,  you  may  be  sure.  He  never  complains.  He 
iss  proud.  Put  he  vants  his  appointment  chust  de  same. 
Ant  he  shoult  get  it.  Dere  iss  von  man  who  stands  in  de 
vay.  De  most  powerful  man  at  de  university. 

MACKENZIE 
Who? 

MRS.  DAVIS 
I  mean  Doctor  Albert  Mackenzie. 

DAVID 

(Entering.) 

What  is  mama  saying  now?  Are  you  scolding  Doctor 
Mackenzie  again? 

MACKENZIE 
Very  severely.  How  is  the  patient? 

MRS.  DAVIS 

Vat  vass  wrong?    Anyting  serious,  Davitt? 

DAVID 

She  is  alright  now.  Nothing  serious.  She  simply  swal 
lowed  a  moth  ball. 

[59] 


MRS.  DAVIS 

A  mott  ball!     Who  gave  her  a  mott  ball  to  swallow? 
Pless  her  little  heart.    I  am  going  up  to  her  now. 

(With  dignity — to  Mackenzie.) 
Vill  you  egscuse  me,  Doctor  Mackenzie? 

(Kissing  David.) 
I  am  going  up  now.    Goot  night,  son. 

DAVID 
Good  night,  mama.    Where  is  Naida? 

MRS.  DAVIS 

She  vent  into  de  liprary  mitt  Doctor  Hotchkiss  to  look 
at  papa's  pictures.     Speak  to  her  about  her  tress,  Davitt 
It's  a  disgrace.    I  do  not  like  to  criticise — put  it's  disgraceful 
Vy  she  looks  like  an  opera  singer. 
(She  goes  out  right.) 
(Hotchkiss  and  Naida  enter.) 

HOTCHKISS 

Oh,  Mackenzie.    You  can't  afford  to  miss  these  Haydens. 
And  there's  a  Whistler  you'll  want  to  steal. 

MACKENZIE 
Whistlers,  has  he?    Are  there  any  Duers? 

(To  Naida.) 
I  hope  you're  not  going  to  desert  us,  Mrs.  Davis? 

NAIDA 
No,  of  course  not. 

(Mackenzie  and  Hotchkiss  go  out.) 

DAVID 
You  look  tired  tonight,  dear. 

NAIDA 
Do  I  ?    I'm  sorry.     I  was  hoping  I  looked  very  nice. 

DAVID 

You  do,  of  course.     You  always  look  beautiful. 
[60] 


NATDA 
Don't  I  look  especially  beautiful? 

DAVID 
I  suppose  you  do. 

NAIDA 
(Laughing.} 
You  suppose.    Oh,  David! 

DAVID 
Is  that  the  gown  you  bought  the  other  day? 

NAIDA 

Yes,  don't  you  like  it?  Of  course  it's  a  little  elaborate 
for  these  small  family  dinners.  Why  do  we  never  have 
anything  but  small  family  dinners,  David? 

DAVID 

We  really  have  very  few  friends,  as  I  have  told  you. 
And,  of  course,  for  our  relatives  .  .  . 

NAIDA 
(Sighing.) 
Oh,  of  course,  for  our  relatives  .   .   . 

DAVID 

Naida,  don't  you  think  that  dress  a  little  too  ...  I  don't 
want  to  offend  you. 

NAIDA 

You  don't  want  to  offend  me,  and  yet  you  suggest  that  my 
dress  is  a  little  too  ...  Too  what?  Let  me  hear,  David, 
what  you  mean? 

DAVID 

Oh,  nothing,  only  ...  I  thought,  perhaps  .  .  .  The  neck, 
you  know.  Don't  you  think  it's  ...  It  exposes  a  good  deal? 

NAIDA 

I  see.    I'm  indecently  dressed. 
[61] 


DAVID 

I  didn't  say  that,  Naida.  I  suppose  it's  alright.  It's  very 
charming,  and  you  look  beautiful  in  it.  But — for  a  different 
atmosphere.  I'm  not  narrow  minded,  you  know  that.  But 
here — when  it  is,  as  you  say,  just  a  small  family  dinner  .  .  . 

(Laughing.) 
You  shouldn't  look  like  an  opera  singer. 

NAIDA 

(Laughing — and  hurt.) 
An  opera  singer !    Oh,  how  absurd ! 
(Starts  right.) 

DAVID 

No,  don't  go.  Please  stay  and  talk  with  me.  I  don't 
mean  to  hurt  you,  dear.  Try  to  understand.  I  haven't  had 
a  minute  to  talk  with  you  for  the  past  month.  You're  always 
so  busy  with  something — sketching  and  singing  lessons  .  .  . 

NAIDA 

Of  course  you  haven't  had  a  minute  with  me.  You  simply 
appear  at  meals — the  rest  of  the  time  you  are  locked  up  in 
your  laboratory.  And  at  night  you  are  tired.  When  do  you 
expect  to  see  me? 

DAVID 

I  am  not  locked  up.  You  know  that  you  can  come  in  any 
time  you  wish,  Naida. 

NAIDA 

Yes,  and  when  I  do  go  over  there  you  are  always  pre 
occupied  and  annoyed.  If  I  begin  to  ask  questions  you  send 
me  over  to  look  at  the  white  rats.  Now  run  away  like  a 
good  little  girl  and  play  with  the  pretty  little  white  rats. 
You  never  give  me  credit  for  wanting  to  know  something 
about  your  work  and  the  things  which  occupy  your  mind. 
Since  /  don't  occupy  it,  at  least  I  have  the  right  to  know 
something  about  what  does. 

[62] 


DAVID 
You  do  occupy  my  mind. 

NAIDA 
I  did. 

DAVID 
You  don't  understand  me,  that  is  all. 

NAIDA 
And  do  you  understand  me? 

DAVID 
Yes,  of  course — perfectly. 

NAIDA 

No,  you  don't.  Because  if  you  did  you  would  know  what 
hell  I  have  been  through  in  the  last  months— five  months 
in  this  house! 

DAVID 

What  do  you  say,  Naida?  You're  not  content  here? 
Why  I  never  .  .  . 

NAIDA 

No,  you  never  dreamed  it.  That  shows  how  occupied  you 
have  been  with  me.  You  never  noticed  a  thing. 

DAVID 

Of  course  I  have  seen  some  things.  I  know  that  mama 
is  rather  trying. 

NAIDA 
Trying ! 

DAVID 

But  I  even  thought  that  you  were  beginning  to  get  around 
her.  You  have  a  way  of  winning  people,  Naida. 

NAIDA 
Thank  you,  David. 

[63] 


DAVID 

And  you  have  been  so  interested  in  your  singing  lessons. 
You  were  so  glad  to  have  free  time  to  work  in,  you  said.  I 
thought  you  were  happy.  You  and  Ruby  have  been  good 
friends. 

NAIDA 

Because  she  is  young.  I  must  have  youth  about  me.  Oh, 
you  haven't  seen  a  thing.  I  am  starving  in  this  house.  I 
hate  families.  I  always  told  you  that.  I  loathe  those  children 
and  the  castor  oil  bottle  and  that  gluey  marriage  of  Herman's 
and  Eva's  and  Herman's  flirting  with  me  every  time  we  are 
alone  together. 

DAVID 

Herman  flirting  with  you?  I  never  dreamed  of  such 
a  thing. 

NAIDA 

Oh,  that  isn't  so  bad.  I  really  don't  mind  enough,  I 
suppose.  And  there's  the  rest  .  .  . 

DAVID 
What  do  you  mean  by — the  rest? 

NAIDA 
Your  mother  and  father  and — auntie. 

DAVID 

But  they  mean  so  much  to  me,  Naida.  I  can't  see  why 
they  don't  .  .  . 

NAIDA 

Why  they  don't  mean  so  much  to  me,  too?  Perhaps 
when  one  gets  old  .  .  .  But  I'm  not  old  enough.  Oh, 
David,  if  you  had  ever  known  what  it  is  to  be  young. 

DAVID 

Then  you're  not  happy  here? 
[64] 


NAIDA 

I  am  simply  stifling.  Oh,  I  can't  explain  .  .  .  The  whole 
thing  was  such  a  mistake.  I  was  never  meant  to  marry, 
was  meant  to  go  along  as  I  was  then,  to  sing  and  fly  around 
with  crazy  fools  like  myself.  We  had  such  glorious  times, 
David,  being  so  utterly  ridiculous.  You  can't  understand 
that,  David.  You  are  never  happy  unless  you  are  solving 
some  deep  problem  of  the  universe.  You  always  say  I  am  a 
child.  I  am  a  child.  I  can't  help  it.  I  like  those  garrish 
hotels  you  hate  so.  I  like  bright  clothes.  I  like  gay  people. 
I  need  and  want  everything  you  shun  and  disapprove  of. 
What  can  we  do?  Here  we  are  married  and  living  a 
sedate  life  together! 

DAVID 

Naida! 

NAIDA 

I've  thought  and  thought.  You  can't  help  it.  I  can't 
help  it.  No  one  can.  I  suppose  I  will  simply  hare  to  go 
on  as  I  have  been  .  .  . 

DAVID 
What  do  you  mean  by  that? 

NAIDA 

(With  a  great  sigh.) 
Stifling. 

DAVID 
Don't  you  think,  Naida,  in  time  .   .   ,   ? 

NAIDA 

In  time,  in  time  ...  Of  course,  I  will  get  old.  Girc 
me  time  and  I  will  get  old.  If  I  could  only  be  like  Eva, 
If  I  could  only  congeal  as  she  has!  Castor  oil  and  string 
quartets — that  is  all  Eva  thinks  of  from  one  year's  end  to 
the  other. 

C6S1 


DAVID 
Naida! 

NAIDA 

Oh,  don't  let  us  talk  like  this  any  more.  It  doesn't  do 
any  good.  But  please  don't  say  that  you  understand. 

DAVID 
Why  ... 

NAIDA 
Oh,  it's — it's  just  everything.    I  am  going  in  to  them  now. 

DAVID 

(Getting   her  scarf   which    lies   across   the   back    of 

the  couch.) 

Wait,  dear  .  .  .  Here  is  your  scarf  .  .  .  don't  you  think 
you  had  better  put  it  about  your  shoulders? 

(He  throws  the  scarf  about  her  shoulders.) 

NAIDA 
(Furious   at   the   idea   that   he   wishes    to    hide    her 

shoulders.) 
You  Jew! 

(She  throws  the  scarf  on  the  floor  and  goes  out  right.) 
(David  stands  stunned  and  hurt.    He  is  about  to  go 
out  left  when  Mackenzie  and  Hotchkiss  enter.) 

MACKENZIE 

I  see  your  father  has  a  duplicate.  A  lithograph  of  Whist 
lers.  I've  been  looking  years  for  it.  Do  you  suppose  he'd 
trade  it? 

DAVID 

I  don't  know,  I  am  sure,  how  my  father  would  feel  about 
it.  You  will  have  to  ask  him  tomorrow.  I  hope  you  will 
excuse  me  tonight,  Mackenzie.  There  is  some  unfinished 
work  ...  at  the  laboratory  .  .  .  You  know  how  it  is  .  .  . 

MACKENZIE 

It's  quite  alright,  Doctor,  of  course. 
[66] 


DAVID 

If  they  ask  about  me,  Hotchkiss,  I'm  alright.  I've 
often  done  it  before,  I  have  everything  I  need.  I  hope  you 
don't  think  us  rude  .  .  .  Well  .  .  . 

MACKENZIE 

Good  night,  Davis.    Awfully  good  of  you  to  have  us. 
(David  goes  out  back.) 
(Seeing  Naida's  scarf  on  the  floor — puts  it  back  on 

the  couch.) 
You  didn't  ask  her  to  sing.    You  promised  me  you  would. 

HOTCHKISS 
Why  didn't  you  ask  her  yourself. 

MACKENZIE 

I  was  afraid  she  might  think  I  was  interested.  Women 
are  so  conceited. 

HOTCHKISS 
Well,  you  are  interested. 

MACKENZIE 
If  I  weren't  do  you  think  I  would  mind  her  thinking  so? 

HOTCHKISS 
(Laughing.) 
Still  the  Don  Juan,  Mackenzie. 

MACKENZIE 
Oh,  no.    I  simply  understand  women. 

HOTCHKISS 
(After  a  pause.) 

I  suppose  you  have  never  realized,  Mackenzie,  that  work 
ing  under  Davis  for  three  years  I  have  come  to  admire  him 
— to — well — to  love  him? 

MACKENZIE 

I  am  sure  I  have  no  objection  to  your  loving  him. 
[67] 


HOTCHKISS 

I  dislike  to  hear  you  speak  of  him  slightingly.  He  is  a 
great  man — not  only  as  a  scientist — but  in  every  way. 

MACKENZIE 
I  rather  thought  that  you  admired  me  somewhat. 

HOTCHKISS 

You  were  one  of  my  young  heroes.  I  remember  when 
you  first  came  to  the  University.  You  impressed  me  enorm 
ously.  You  were  so  picturesque.  You  were  my  ideal  of  a 
great  man.  Your  cruelty  appealed  to  me — as  it  appeals  to 
all  unformed  young  minds. 

MACKENZIE 
Thank  you,  my  dear  Doctor. 

HOTCHKISS 
(After  a  pause.) 

Mackenzie,  I  don't  want  you  to  use  your  influence  with 
the  board  to  get  me  placed  in  a  position  which  should  go 
to  Davis.  If  I  get  it,  I  am  going  to  decline. 

MACKENZIE 

You  won't  throw  away  a  chance  like  that  when  you  once 
have  it:  I  know  men  too  well. 

HOTCHKISS 

That  is  just  where  men  like  you  fail,  Mackenzie.  You 
can  control  affairs  as  long  as  you  are  counting  upon  the 
ambitions  of  other  men — but  you  never  take  into  account 
their  ideals. 

MACKENZIE 
(Shrugging.) 

Have  it  your  own  way.  There  are  others  who  will  go  in 
your  place. 

HOTCHKISS 
(At  right.) 
Coming  up? 


MACKENZIE 
Shortly.     I'm  going  to  smoke  a  cigarette. 

HOTCHKISS 
(Laughing.) 
Good  night. 

(He  goes  out  right.) 

MACKENZIE 
Good  night. 

(There  is  a  silence.     A  maid  comes  in  at  left.) 

MAID 
Oh,  excuse  me,  sir. 

MACKENZIE 
It's  alright.    What  do  you  want? 

MAID 
I  came  to  close  up,  sir.     I  thought  everybody  had  gone  up. 

MACKENZIE 
So  they  have.    I  will  be  going  up  in  a  minute. 

MAID 
Shall  I  wait,  sir? 

MACKENZIE 

No,  you  needn't  wait.     I  just  want  to  finish  my  cigarette. 

(Meaning  to  flatter.) 
Mrs.  Davis  keeps  very  pretty  maids. 

MAID 
(Meekly.) 
Yes,  sir. 

MACKENZIE 
What  do  you  do  on  a  moon  light  night  like  this? 

MAID 

I  sleep,  sir.     I  have  been  up  since  six. 
[69] 


MACKENZIE 
What  a  waste ! 

MAID 
I  beg  pardon,  sir? 

MACKENZIE 
Do  you  never  dream? 

MAID 

(Earnestly.) 
Oh,  yes,  sir. 

MACKENZIE 
Tell  me  what  you  dream. 

MAID 

Last  night  I  dreamed  of  my  father.  We  have  a  pretty 
little  cottage  at  home,  sir.  I  dreamed  that  it  burned  down 
and  my  father  in  it. 

MACKENZIE 
(Bored.) 
What  a  pity!    Well,  you'd  better  go  to  bed  now. 

MAID 
Shall  I  close  the  window,  sir? 

MACKENZIE 
I  will  close  it  when  I  go  up. 

MAID 

(Going  left.) 
Yes,  sir.     Good  night,  sir. 

(Naida  enters  after  a  minute.     She  comes  in  hesi 
tatingly.  ) 

NAIDA 

(Seing  Mackenzie.) 
Oh!     I  thought  everyone  had  gone  up. 

MACKENZIE 

I  am  always  the  last  up.  I  never  enjoy  a  house  until  I 
feel  I  am  alone  in  it. 

[70] 


NAIDA 

Yes,  I  can  understand  that  feeling.     I  came  for  my  book. 
The  chef's  book,  as  you  called  it. 
(She  goes  to  table  for  book.) 

MACKENZIE 

(Getting  the  book  for  her,  opens  it.) 
So  you  read  French  poetry,  do  you  ? 

NAIDA 

I  always  spoke  French  when  I  was  younger.  I  was  born 
in  France. 

MACKENZIE 
Really?    Were  you?    That  was  very  wise  of  you. 

NAIDA 

Please  let  me  have  my  book  now,  Doctor  Mackenzie.  I 
am  going  upstairs  now. 

MACKENZIE 

Ah,  markings  in  pencil.  All  your  favorites  .  .  .  Verlaine, 
de  Regnier,  Paul  Fort  ...  Ah,  here  is  your  especial 
favorite  .  .  . 

NAIDA 

(Annoyed.) 
Please,  Doctor  Mackenzie  .   .    . 

MACKENZIE 
(Reading.) 

Par  les  nuits  d'ete  bleues  ou  chantent  les  cigales,  Dieu 
verse  sur  la  France  une  coupe  d'etoiles.  Le  vent  porte  a  ma 
levre  un  gout  du  ciel  d'ete !  Je  veux  boire  .  .  . 

NAIDA 

I  hate  to  have  things  read  out  loud. 
[71] 


MACKENZIE 

So  do  I.  Stay  a  moment.  You  can't  be  sleepy.  You've 
been  up  there  on  that  balcony  of  your  looking  at  the  moon. 

NAIDA 
How  did  you  know? 

MACKENZIE 

How  could  you  do  anything  else?  You  see  I  see  every 
thing.  I  see  many  things  which  you  think  are  disguised 
from  everyone. 

NAIDA 
Oh,  I  have  nothing  to  conceal. 

MACKENZIE 
Have  a  cigarette  with  me. 

(He  offers  his  cigarette  case.     Naida  takes  a  cig 
arette.') 

NAIDA 

Well,  for  a  few  minutes  .  .  .  How  warm  it  is  in  the 
rooms  up  stairs! 

(She  sits  on  the  couch.) 

MACKENZIE 
(Standing  near  her.) 

Do  you  remember  de  Maupassant's  moon  story?  Only 
cfld  people  and  fools,  he  says,  are  insensible  to  the  lure  of  the 
moon.  And,  do  you  know.  I  think  that  you  arc  neither 
one  nor  the  other. 

NAIDA 
i  am  not  so  sure  about  the  fool  part  of  it. 

MACKENZIE 
Oh  •     ^      .  .  You  wanted  to  be  a  great  singer,  didn't  you? 

NAIDA 
Who  told  you  .  .   .   ? 

[72] 


MACKENZIE 

Nevermind.  Well,  then,  why  did  you  get  married?  Yon 
see  that  is  where  women  are  so  unreasonable.  They  don't 
sit  down  calmly  and  think — if  I  let  myself  be  married  then 
I  will  have  to  go  with  this  man  or  that  and  settle  down  and 
go  his  way  instead  of  my  own.  They  allow  their  emotions  to 
run  away  with  them,  and  then  one  fine  day  they  discover  that 
they  have  nothing  left  but  their  emotions — which  have  prob 
ably  cooled  considerably  by  this  time. 

NAIDA 

There  are  women  who  are  successful  both  as  artists  and 
as  wives  and  mothers.  Why  I  know  .  .  . 

MACKENZIE 

Yes,  and  art  suffers  for  it  every  time.  A  woman  can't  act 
with  one  half  of  her  mind  on  her  role  and  the  other  half 
on  the  nursery  .  .  . 

NAIDA 
I  suppose  that  is  true.    What  are  we  to  do? 

MACKENZIE 
It  is  tragic  business  being  a  woman. 

NAIDA 
Tragic  ? 

MACKENZIE 

I  have  known  a  great  many  women.  I  have  never  known 
one  who  was  not  enmeshed  in  hopeless  complications.  Yes, 
one.  My  sister.  She  is  enormously  intelligent.  She  is  as 
unfeeling  as  if  she  had  been  under  chloroform  her  whole  life 
long.  She  does  a  great  deal  of  good,  of  course.  You  -<vould 
scarcely  call  her  a  human  being. 

NAIDA 

It  is  hard  to  stifle  one's  emotions — and  then  if  y«ui 
don't  .  .  . 

[73] 


MACKENZIE 

That  is  woman's  whole  problem.  She  never  knows  when 
to  feel  and  when  not  to.  Look  at  yourself*  .  .  . 

NAIDA 
Oh,  please  don't  talk  about  me ! 

MACKENZIE 

I  knew  from  the  first  minute  that  I  saw  you  that  you 
were  unhappy. 

NAIDA 

Then  you  were  wrong.    I  am  not  unhappy.    I  am  simply 
.    .    .  It's  stupid,  I  suppose.     My  husband  has  changed  so. 
(Laughing.) 

MACKENZIE 
You  love  him  then? 

NAIDA 
I — I  don't  know. 

MACKENZIE 
You  have  the  most  beautiful  lips  I  have  ever  seen. 

NAIDA 
(Rising.) 
Doctor  Mackenzie! 

MACKENZIE 

You  don't  want  me  to  make  love  to  you  then  ? 

NAIDA 
Make  love  to  me? 

MACKENZIE 

It  is  very  difficult  not  to.  You  are  very  beautiful.  I 
worship  your  beauty— as  if  you  were  carved  in  marble  and 
I  knee'iing  below  your  pedestal — a  humble  student. 

NAIDA 

(Going  right.) 

I  am  going  up  to  my  room  now.    Good  night. 
[74] 


MACKENZIE 

Just  now  as  you  stand  there.     A  thought  came  over  me. 
I  have  a  whim — will  you  humor  me  in  it  ?  Stand  up  there — 

(Meaning  the  pulpit.) 

Let   me   see   you   there — high    above   me — as    inexorable 
as  God. 

NAIDA 
(Laughing.) 
What  an  absurd  idea.    You  want  me  to  go  up  there? 

MACKENZIE 
Yes.     Please.    You  will  look  so  exquisite. 

NAIDA 

(Amused  and  interested.) 
I  might  fall  down. 

MACKENZIE 
Then  I  will  catch  you. 

(She  runs   up   the  steps  and  stands  in   the  pulpit, 
amused  to  look  beautiful  and  be  admired.) 

NAIDA 
How  do  I  look? 

MACKENZIE 
(Kneeling.) 
I  am  humble.    Command  me. 

NAIDA 

It  is  such  a  strange  feeling  to  be  in  a  pulpit.     What  are 
you  doing? 

MACKENZIE 
I  am  praying. 

NAIDA 
To  God? 

MACKENZIE 
No.    To  you. 

NAIDA 

This  is  blasphemous.     I  command  you  to  get  up. 
[75] 


MACKENZIE 
(Going  to  the  steps.) 
Give  me  some  word  from  your  world  of  beauty. 

NAIDA 

(Laughing  and  embarrassed.) 
I  am  nervous. 

MACKENZIE 
My  goddess  has  weakened.    She  gives  me  courage. 

NAIDA 

Doctor  Mackenzie,   I  am  coming  down.     Look  out,  I 
will  fall. 

MACKENZIE 
That  will  be  human  and  wonderful. 

(He  tries  to  touch  her,  but  she  eludes  him.) 

NAIDA 
I  don't  like  being  divine. 

MACKENZIE 
(Goes  to  the  doorway  looking  out  into  the  moon 

light.) 
The  garden  is  wonderful. 

NAIDA 

(Following  him  and  looking  out.) 
How  white  and  still  it  is. 

MACKENZIE 

Oh,  que  le  ciel  coule  en  moi! 
Que  je  me  fonde  en  lui ! 

NAIDA 
(Dreamily.) 

Yes,  to  flow  into  the  sky! 
Oh,  if  this  were  all  as  beautiful  as  it  seems. 
[76] 


MACKENZIE 

It  is!  We  will  go  far  into  the  garden — back  to  the  pooL 
You  and  I  will  dance  with  the  moon — two  satyrs  and  a 
nymph. 

NAIDA 

(Looking  at  him  intently.) 
And  if  I  do  go  .   .  .  ? 

MACKENZIE 
You  are  going.    Come  .  .  . 

(Almost  as  if  hypnotized  she  goes  forward  slowly. 
They  go  out  and  down  into  the  garden.  There  if 
a  silence  in  which  the  audience  is  made  to  feel  the 
mystery  of  the  moon  light  night,  and  to  follow  in 
imagination  the  two  who  are  walking  down  to 
the  garden.) 

CURTAIN 


ACT  III 

SCENE:  Breakfast  porch  at  Roselands,  the  following  morn 
ing.  Steps  to  the  garden  off  left,  back.  Potted  trees 
and  plants  along  the  low  rail.  Entrance  right,  at  back. 
A  screen  before  this.  Another  entrance  left.  Wall 
fountain  with  growing  vines.  Marble  bench  near  this. 
Breakfast  table  right,  with  chairs.  Serving  table  against 
the  right  wall.  MRS.  DAVIS,  MR.  DAVIS,  AUNTIB 
seated  at  the  breakfast  table. 

MRS.  DAVIS 

Vy  can't  beople  get  up  in  de  morning?    It's  chust  as  easy 
tss  lying  in  bett. 

(To  Auntie.) 

Why  don't  you  have  some  eggs? 
[77] 


AUNTIE 

No,  tank  you,  Lena.  Dey  don't  agree  mitt  me.  Vat  am 
I  to  do  ven  notting  agrees  mitt  me? 

MRS.  DAVIS 
(To  Jacob.) 

She  iss  too  mean  to  eat  eggs.  Vat  if  dey  are  dear?  Von 
hass  to  live  I  subbose. 

No  eggs  for  my  sister  dis  morning,  Caroline. 

AUNTIE 
( Complaining. ) 
Caroline,  vy  don't  you  wear  a  clean  apron? 

MRS.  DAVIS 
It  iss  clean.     I  will  tell  my  maids  vat  to  vear! 

(To  Jacob.) 

Ach,  she  iss  getting  vorse  and  vorse.  I  can't  stand  it  much 
lonker.  My  nerves!  I  have  nerves.  Am  I  a  jelly  fish?  I 
am  going  matt  mitt  her  complaining. 

JACOB 

Dere,  dere,  sweetheart,  she  iss  only  olt  and  cranky.  Don't 
fuss  mitt  her  too  much. 

(Drinks  his  coffee.) 
Batt  coffee.    Vy  can't  dat  French  cook  make  goot  coffee? 

MRS.  DAVIS 

(Tearfully.) 

You  see.  You  chust  agree  mitt  Christianne  in  everyting. 
Dat's  all  Christianne's  doing.  Here  I  go  and  get  de  most 
cgspensive  cook  I  can  find — just  to  blease  you — and  den  you 
say  he  makes  batt  coffee. 

(Drinks   her   coffee   and   then   puts   down    her   cup 

furiously.) 

It  iss  batt!    Vatt  is  de  matter  mitt  him  dis  morning! 
[78] 


AUNTIE 
(Rising.) 

I  vill  make  your  coffee  for  you,  Jacob.    Like  de  coffee  ve 
used  to  have  in  de  olt  country. 

(Goes  left.) 

You  chust  vait.     Christianne  knows  how  to  make  coffee. 
French  cooks!    Whoever  heard  of  a  French  cook! 
(She  goes  out.) 

MRS.  DAVIS 
Don't  you  dare  go  into  my  kitchen! 

JACOB 

Dere,  dere,   Lena.     Let  her  make  a  little  coffee  if  she 
vants  to. 

MRS.  DAVIS 
(Weeping.) 

You  don't  loff  me  any  more.     All  you  care   apout  iss 
Christianne.    I  am  only  in  de  vay. 

JACOB 

Dere,   dere,   whoever  heard   of   such    a   ting!      I   don't 
loff  you! 

MRS.  DAVIS 

No,  you  don't.    Nopotty  loffs  me.    I  am  chust  in  de  vey. 
I  vould  pe  bedder  off  deatt. 

(Suddenly  energetic.) 
Caroline  has  forgotten  de  toast!     Caroline! 

(Violently.) 
Caroline ! 

CAROLINE 
(Entering.) 
Yes,  Mrs.  Davis. 

MRS.  DAVIS 

See  dat  you  pring  de  toast  on  time  hereafter. 
Caroline,  iss  your  apron  clean? 

CAROLINE 

Why,  of  course,  Mrs.  Davis. 
[79] 


MRS.  DAVIS 

Veil,  veil,  run  along  now.  See  vat  dat  olt  pusy-botty  iss 
doing  in  my  kitchen.  I  haff  a  goot  mint  to  go  and  make 
de  coffee  myself. 

(Eva  and  Herman  enter.) 

EVA 
Good  morning. 

MRS.  DAVIS 
Goot  morning,  Efa.    How  is  Barbara? 

EVA 
She's  alright,  thank  you,  mama. 

MRS.  DAVIS 
Vass  you  up  mitt  her  last  night? 

EVA 

No,  that's  the  worst  part  of  it.  She  slept  soundly  the 
whole  night  through — and  I  was  lying  awake  wondering 
why. 

MRS.  DAVIS 

Dat's  a  mottern  barent  for  you.  Vy  didn't  you  go  ant 
find  out? 

HERMAN 

I  should  like  to  see  what  happened  to  babies  who  were 
brought  up  under  your  methods,  mama. 

MRS.  DAVIS 

I  subbose  you  tink  ve  killed  our  children?  Veil,  didn't  I 
pring  up  Efa,  ant  Davitt,  ant  Ruby — aldough  dey  never  get 
up  in  de  morning. 

RUBY 
(Enters.) 

What's  that?  Never  get  up  in  the  morning?  Here  I 
am,  anyway.  Nice  little  anvil  chorus  we  had  at  six  P.  X^ 
Eva. 

[80] 


EVA 
You  needn't  be  rude  to  my  child,  Ruby. 

RUBY 

No,  it  wouldn't  do  me  any  good.  But  at  least  I  can  have 
some  satisfaction  in  taking  it  out  on  you. 

(To  Mrs.  Davis.) 
Mama,  may  I  go  to  the  theatre  today? 

EVA 
There's  nothing  to  see  so  early  in  the  season. 

MRS.  DAVIS 
No,  it's  a  vaste  of  money. 

HERMAN 
They  never  put  anything  good  on  at  this  time,  you  know. 

EVA 

No,  they  take  this  time  to  get  rid  of  the  promising  young 
American  dramatists  we're  always  hearing  so  much  about. 

RUBY 

Oh,  of  course  there's  nothing  high  brow,  if  that's  what 
you  mean.  You  and  Herman  think  if  a  thing  isn't  copied 
from  Shakespeare  or  Shaw  it's  no  good. 

EVA 

Well,  nearly  everything  you  see  in  New  York  is  copied 
from  either  one  or  the  other. 

RUBY 

(Enthusiastically.) 

This  isn't.  This  is  a  real  American  play.  Mayn't  I  go, 
mama? 

MRS.  DAVIS 

Oh,  veil,  go  if  you  must.    I  subbose  it  iss  an  immoral  bla> 

[81] 


RUBY 
Why  should  it  be  immoral,  mama? 

MRS.  DAVIS 

Vy  not  ?  Odderwise  vy  voult  you  care  apout  seeing  it  ?  Dis 
age  is  getting  decadent.  Everyting  is  rotten.  Tings  are  ass 
batt  as  dey  vere  in  de  olt  times  at  de  fall  of  Egypt. 

HERMAN 
Don't  you  mean  the  fall  of  the  Roman  Empire,  mama? 

MRS.  DAVIS 

Vat  difference  does  it  make?  Egypt  must  have  fallen 
also.  Tink  of  Cleopatra! 

(Ruby  and  Herman  laugh.) 

AUNTIE 

(Entering  with  a  cup  of  coffee.) 

Vat  are  dey  laughing  at  ?  Are  dey  laughing  at  me,  Jacob  ? 
Dere,  dat  is  real  old  fashioned  Jewish  coffee. 

(Goes  out  with  dignity  left.) 

And  dere  iss  notting  to  laugh  about  in  Jewish  coffee. 
(Caroline  comes  in  with  mail.) 

RUBY 
Oh,  good — the  mail! 

MRS.  DAVIS 
(With  importance.) 

Here — for  you,  papa.  Here  iss  anudder.  Looks  like  your 
lawyer.  You've  forgotten  to  send  him  dose  contracts.  Here 
— for  me — for  Davitt  ...  I  don't  seem  to  know  de  hand 
writing.  For  Davitt  .  .  .  For  Herman  .  .  . 

RUBY 

Anything  for  me,  mama  ? 

[82] 


MRS.  DAVIS 
(Sharply.) 
Vait  until  I  come  to  you.    For  Ada. 

(Smells  it.) 

Dat  friend  of  hers  alvays  uses  some  scent.  Pooh!  Eva 
...  I  can't  tink  from  whom  it  might  pe. 

EVA 
Well,  give  it  to  me,  mama,  and  perhaps  I  can  find  out. 

MRS.  DAVIS 
(Hands    the    letter    to    Eva,    still    looking    at    the 

envelope.) 

Anudder  for  you,  papa.  It's  de  first  of  de  month.  Von  for 
you,  Caroline. 

CAROLINE 
Thank  you,  Mrs.  Davis. 

MRS.  DAVIS 

(Reading  the  post  card  first.) 

It's  from  your  sister  in  Atlantic  City.  Here's  de  baber, 
papa. 

(All  open  their  letters.  Naida  enters.  She  looks  pale.) 

NAIDA 
Good  morning. 

ALL 
Morning. 

MRS.  DAVIS 

Here's  a  letter  from  dat  friend  of  yours  in  de  city,  Ada. 
I  could  tell  it  a  mile.    Tink  of  using  scent  on  your  baper. 
(Hands  the  letter  to  Naida.) 

EVA 

(To  Mrs.  Davis.) 

I  hope  you  have  made  arrangements  to  have  Doctor  Mac 
kenzie  and  Doctor  Hotchkiss  taken  down  to  the  station, 
mama. 

[83] 


MRS.  DAVIS 

Arc-  dey  leaving  dis  morning?     Dey  didn't  say  anyting 
to  me  apout  it. 

EVA 

Well,  we  have  to  arrange  for  it,  anyway.     I  will  need 
the  roadster  for  the  marketing. 

RUBY 
I  want  the  roadster  myself.    We're  all  going  in  swimming. 

MRS.  DAVIS 

You  can't  go  in  swimming.    It's  after  Labor  Day.    Who 
ever  heard  of  anybody  going  in  swimming  after  Labor  Day? 

JACOB 
Who  iss  going  to  take  me  down? 

RUBY 
I  am,  papa,  as  I  do  every  morning. 

MRS.  DAVIS 

Ruby  can  take  you  down  in  the  Packard  and  let  Henri 
vait  for  Doctor  Mackenzie. 

EVA 

Don't  forget  Herman.    Herman  has  to  go  to  New  Jersey 
today. 

HERMAN 

Oh,  don't  bother  about  me.     I'm  not  too  good  for  the 
train. 

RUBY 
Well,  I  want  the  roadster,  and  if  Eva  .  .  . 

MRS.  DAVIS 
(Sharply.) 
Efa  iss  to  have  de  roadster! 

[84] 


RUBY 
Why  can't  Henri  take  her  later  in  the  Packard  ? 

EVA 

Go  in  swimming  later. 

RUBY 
But  it's  high  tide  just  at  eleven. 

EVA 

Well,  go  in  at  low  tide.    Do  something  to  be  obliging. 

RUBY 

Obliging!  I  don't  see  how  you  can  talk  about  being 
obliging!  Well,  of  all  the  .  .  . 

JACOB 

(Jumping  up,  out  of  temper.) 

Roadster,  Packard,  Packard,  roadster!  Such  a  bodder! 
I  vill  get  a  taxi.  Nopotty  cares  about  me.  Vedder  I  valk 
or  fly  or  vat! 

RUBY 
(Contrite.) 

Now,  papa,  don't  go  and  get  angry.  You  know  I'd  not 
want  to  have  you  ride  down  in  any  old  taxi.  I  will  take  you 
down  in  the  roadster  as  I  do  every  morning. 

EVA 

I  don't  see  why  Henri  can't  run  papa  down  in  the 
Packard  and  then  come  back  for  Doctor  Mackenzie. 

RUBY 

(Peting  him.) 

Because  papa  likes  to  have  me  take  him  down,  don't  you, 
papa?    Come  on,  now,  or  you'll  miss  your  train. 
(They  go  out  back.) 

EVA 

I  don't  see  why  you  don't  say  something  to  Ruby,  mama. 
She  is  getting  positively  unmanageable. 

(851 


MRS.  DAVIS 

Ada,  you  spoil  her.  Dat's  de  whole  trouble.  Since  you 
haff  been  here  she  hass  peen  like  a  different  girl.  She  used 
to  pe  shy  ant  quiet.  Now— Gott!  Dere's  notting  she  does 
not  do — and  vat  she  does  not  do  she  tinks  about. 

EVA 
And  she's  always  talking  about  being  suppressed. 

MRS.  DAVIS 

Suppressed!  Veil,  vy  shouldn't  she  be?  If  you  don't 
suppress  human  nature  vat  can  you  do  mitt  it? 

HERMAN 

(Reading  the  newspaper.) 
Speaking  of  human  nature — they've  let  Hollister  off. 

EVA 

Acquitted  him? 

MRS.  DAVIS 

A  lot  of  soft  headed  fools!  He  shoult  pe  made  to  die. 
Vat  right  hass  von  man  to  take  anudder  man's  life?  A  nize 
fix  we  voult  pe  in  if  everypotty  vent  arount  killing  de  people 
dey  didn't  like.  Dere  vouldn't  pe  anypotty  left  in  de  vorld. 

EVA 

(Rising.) 

I  must  see  that  the  children  get  out.  Herman,  will  you 
come  and  help  Tillie  with  the  baby  carriage? 

HERMAN 

(Patiently.) 
Yes,  dear. 

(They  go  out  left.) 

MRS.  DAVIS 
(Rising.) 

Look  at  de  eggs.  Nopotty  hass  finished  dere  eggs.  No- 
potty  knows  how  hard  it  iss  to  keep  chickens  at  dis  time. 

F86] 


(She  goes  out  right.) 

(Naida  has  been  bored  and  annoyed  through  all  the 
foregoing.    Now  that  she  is  alone,  she  reaches  for 
the  paper  and  reads  it  intently.     After  a  moment 
Doctor  Mackenzie  enters.) 
MACKENZIE 
Oh,  good  morning. 

NAIDA 

Good  morning.  .       .        v 

(Mackenzie  goes  to  breakfast  table  and  sits  there.) 

(Caroline  enters.) 

MACKENZIE 
Oh,  good  morning. 

CAROLINE 
Good  morning,  sir. 

MACKENZIE 

Nothing  for  me,  thanks.  Will  you  see  about  the  car?  I 
have  some  bags  in  the  hall. 

CAROLINE 
I  will  see  that  they  are  taken  down  for  you,  sir. 

MACKENZIE 

Thank  you. 

(Caroline  goes  out.)  . 

How  absurd  this  is.  I  knew  that  we  would  run  into 
each  other.  I've  been  up  for  an  hour— waiting  for  you  to 
get  away— and  here  you  are,  just  as  I  knew  you  would  be. 
Well,  perhaps  it  is  better  so. 

(After  a  moment.) 

1   have   been   reading   your  husband's   literature— befon 
breakfast.     I  got  quite  fascinated  in  The  Lifc  of  the  Cater 
pillar.     Does  your  husband  spend  his  nights  reading    in 
Life  of  the  Caterpillar? 

(He  goes  over  to  her.) 
Please  don't  hate  me  so  very  much. 
[87] 


NAIDA 
I  don't  hate  you. 

MACKENZIE 

Oh,  yes  you  do.  You  hate  me  for  being  in  such  a  hurry 
to  leave  you.  You  hate  me  for  reading  your  husband's  Life 
of  the  Caterpillar  when  you  were  waiting  in  agony  to  talk 
to  me  and  get  our  relations  settled. 

NAIDA 
Oh! 

MACKENZIE 

You  may  as  well  admit  it.  My  dear  lady,  I  understand 
women.  I  know  exactly  what  you  have  been  going  through. 
Well — I  am  sorry.  I  am  really  tremendously  sorry.  Docs 
that  help? 

NAIDA 
Please! 

MACKENZIE 

Why  are  you  angry  with  me  because  I  am  not  in  lore 
with  you  ? 

NAIDA 
But  I  am  not  in  love  with  you. 

MACKENZIE 

Nevertheless,  you  feel  that  you  should  have  some  kind  of 
hold  upon  me,  don't  you? 

NAIDA 
Oh,  why  talk  -at  all? 

MACKENZIE 

After  last  night  you  think  that  we  should  have  some  tic 
between  us — Some  bond — isn't  that  so?  It  is  revolting  to 
you  to  think  t  hat  things  like  that  can  happen  and  mean  noth 
ing,  have  no  \  mportance  of  any  kind  whatsoever  .  .  . 

[88) 


NAIDA 

That  is  exactly  what  I  have  been  thinking.  If  I  didn't 
you  love  .  .  .  Why  Should  .  .  .  That  is  what  I  cannot 
understand. 

MACKENZIE 

That  is  the  trouble  with  our  whole  American  sentiment. 
It  is  not  based  on  knowledge  of  real  life.  That  is  why  all 
of  our  books  and  our  plays  never  ring  true.  Life  is  never  a 
complete  harmonious  chain  of  events  woven  regularly  with 
the  hours,  with  a  definite  beginning  and  a  definite  ending. 

NAIDA 
What  is  life! 

MACKENZIE 

My  dear  lady,  I  am  not  an  American  novelist.  I  would 
never  presume  to  compress  the  infinite  into  any  small  recep 
tacle  of  my  own  making. 

NAIDA 
Oh,  if  you  would  only  stop  making  speeches! 

MACKENZIE 

Come,  don't  be  angry  with  me.  I  am  really  not  to  blame. 
It  was  the  night,  and  the  moon  and  the  co-inciding  of  our 
moods. 

NAIDA 

Oh,  that  I  should  be  such  a  fool!  Why,  if  anyone  had 
told  me  ... 

MACKENZIE 

If  anyone  had  tol'1  you  you  would  have  hotly  denied  it. 
And  yet  all  afternoon — all  evening — you  and  I  were  gradu 
ally,  unmistakably  leading  up  to  the  occasion  which  finally 
arrived — to  the  opportunity — the  garden — and  the  rest — 
Things  happen  that  way. 

(David  enters.    He  looks  ,    ,gard.) 
[89] 


NAIDA 
David ! 

DAVID 
Naida  .   .   .  Mackenzie  .   .   . 

(Sits  at  table  facing  audience.) 

MACKENZIE 

Thank  you,  Davis,  Good  bye.  I  enjoyed  reading  your 
book  very  much — The  Life  of  the  Caterpillar — very  fasci 
nating  .  .  . 

(Exit  right.) 

DAVID 
Is  mother  down? 

NAIDA 
Long  ago.    It's  late. 

DAVID 
Yes,  I  suppose  so. 

NAIDA 
You  slept  at  the  laboratory? 

DAVID 
Yes. 

NAIDA 
Were  you  comfortable  there  ? 

DAVID 
Quite. 

(David  reads  letters — puts  down  one  he  has  read.) 
Well! 

NAIDA 
What  is  it,  David  ? 

DAVID 

Why  you  would  scarcely  believe  this,  Naida.  They've 
met  already.  Mackenzie  didn't  say  a  word  to  me  about  it. 
Not  an  intimation.  Why  Naida,  I  can  scarcely  believe  it. 

[90] 


NAIDA 

What  is  it,  David?     Have  they  definitely  decided  upon 
anyone  ? 

DAVID 

Hotchkiss.     They've  chosen  Hotchkiss. 

NAIDA 
David  ...  I  am  sorry. 

DAVID 

(After  a  moment.) 
It  almost  takes  the  breath  out  of  me. 

NAIDA 
I  know.    You  cared  so  much.    You  worked  so  hard. 

(The  tears  start  to  her  eyes  and  her  lips  tremble.) 
If  I  could  only  he}f>  .   .   .  If  I  could  only  .   .   . 

DAVID 

(Rising  and  moving  away.) 
Please  .   .   .  not  now — I  didn't  sleep.     I'm  all  worn  out. 

NAIDA 

I  hurt  you  last  night.     I  can't  understand  what  made  me 
be  so  cruel. 

DAVID 

Oh,  don't  talk  about  that.     I  can't  talk  now.    Don't  you 
see  how  I  am  this  morning? 

NAIDA 

Don't  go.     Stay  and  talk  with  me.     Oh,  David,  won't 
you  forgive  me  for  what  I  said  ? 

DAVID 

Can  you  forgive  me  for  being  a  ... 

NAIDA 
Oh,  my  dear  .   .   .   ! 

[91] 


DAVID 

What  chance  have  I?  As  long  as  I  am  underneath  doing 
my  work — helping  along — I  am  alright.  But  the  minute 
I  want  to  step  out  and  claim  recognition — superiority — I  am 
held  down.  I  am  told  to  stay  where  I  belong. 

NAIDA 
And  even  I  ...  David,  say  you  forgive  me. 

DAVID 
Oh,  Naida,  not  now! 

NAIDA 
Then  you  won't  forgive  me? 

DAVID 

Oh,  I  do,  I  do,  of  course.  Let  me  alone  ...  I  must  be 
alone!  I  am  going  out  to  my  laboratory  to  work. 

NAIDA 
The  laboratory! 

(Helplessly.) 
What  about  me? 

DAVID 
About  you? 

NAIDA 

I — can't  be  alone  with  myself  today,  David.  Stay  with  me 
just  for  today.  Let  us  take  a  long  walk  together.  Then  we 
can  talk  together — then  we  can  be  with  each  other  without 
anyone  else  around. 

(As  he  starts  to  go  left.) 

No,  no,  don't  go.  Please  don't  go,  David.  Please  stay 
with  me,  David,  David  .  .  . 

David,  something  terrible  has  happened.  I  have  something 
to  tell  you  ...  I  must  tell  you  something  which  will  break 
your  heart. 

DAVID 

(Falling  to  his  knees  before  her.) 
Thank  God!    Thank  God! 

[92] 


NAIDA 
David  .    .    .    ? 

DAVID 
I  have  been  tortured  so. 

NAIDA 
Tell  me. 

DAVID 
Last  night  .   .   . 

NAIDA 
Last  night? 

DAVID 

I  couldn't  work.  I  couldn't  sleep.  I  ^wanted  to  talk 
everything  over  with  you.  I  was  coming  back  to  you  .  .  . 
through  the  garden  .  .  . 

NAIDA 
The  garden? 

NAIDA 

Yes,  Naida,  the  garden. 

When  you  were  walking  back,  I  was  behind  the  hedge. 
I  heard  everything  you  two  said. 

NAIDA 
You  heard? 

DAVID 

I  crept  back  to  the  laboratory.  I  have  had  an  old  revolver 
there.  I  nearly — killed  myself. 

NAIDA 
David  .   .   .  why  not — him — and  me? 

DAVID 
Because  I  am  the  one  in  the  way. 

NAIDA 
Don't!    Oh,  don't  do  that! 

(Going  to  him.) 

David,  look  at  me.  Look  into  my  eyes.  Can  you  ever 
have  faith  in  me  again?  Can  you  ever  believe  in  me  again? 

[93} 


DAVID 
I  don't  know.    I  don't  know  anything  any  more. 

NAIDA 

Oh,  how  can  I  make  you  understand?  What  I  don't 
understand  myself.  I  was  unhappy,  that  was  it.  I  was  all 
mixed  up,  I  even  began  to  believe  that  )rou  didn't  care  for 
me  any  more. 

DAVID 
That  I  didn't  care  for  you! 

NAIDA 

You  were  so  cold  and  distant.  Then  last  night  .  .  .  about 
my  gown  I  was  hurt  and  angry.  Then  he  ...  Oh,  you 
know  what  he  is ! 

DAVID 

Last  night  I  reasoned  with  myself.  I  reasoned  it  all  out. 
I  was  thinking  of  you.  How  different  you  are  from  me. 
Even  when  we  were  happiest  together,  Naida,  I  always 
noticed  it.  I  have  never  been  the  man  for  you.  I  must  be 
wise  about  it.  I  must  think  of  your  good.  Perhaps  you  have 
done  right,  dear.  He  is  the  man  you  should  have. 

NAIDA 
Oh,  my  dear  .   .   . 

DAVID 
I  have  made  up  my  mind  not  to  stand  in  your  way. 

NAIDA 

Oh,  David,  you  don't  see.  You  don't  understand  how  it  is. 
You  couldn't.  You  are  too  fine.  He  doesn't  love  me.  I 
don't  love  him.  Don't  you  see?  It  was  simply  .  .  . 

DAVID 

You  mean  that  you  were  just  another  of  his  ... 
Good  God !    Then  he  simply  .   .   . 
[94] 


(Without  another  word  he  goes  off  quickly  down  the 
steps,  Naida  stands  watching  him  anxiously.  Doctor 
Hotchkiss  enters.) 

Ho  re  H  KISS 
Good  morning. 

NAIDA 
Oh,  it's  Doctor  Hotchkiss. 

HOTCHKISS 

What  a  lovely,  fresh  morning. 
(Goes  toward  the  table.) 

It  is  such  a  fresh,  lovely  morning  I  was  thinking  of  walk 
ing  down  to  the  station.  It  isn't  far,  is  it? 

NAIDA 

No,  not  at  all. 

Let  me  ring  for  your  breakfast. 

(She  rings  the  bell  under  the  table.) 

HOTCHKISS 
Thank  you. 

(Looks  out.) 
It  really  is  a  lovely  morning. 

(Caroline  enters — in  answer  to  her  question.) 
Just  coffee,  thank  you. 
(Caroline  exits.) 

I  suppose  when  one  is  in  the  country  he  should  get  the 
benefit  of  fresh  eggs.  It's  a  great  pleasure  to  eat  a  really 
fresh  egg,  isn't  it?  After  the  cold  storage  eggs  one  gets  in 
the  city.  I  hear,  by  the  way,  someone  has  invented  a  new 
way  of  storing  eggs  which  enables  them  to  keep  their  original 
properties  much  longer  than  .  .  . 

NAIDA 

I  wonder  if  you  would  be  good  enough  to  excuse  me, 
Doctor  Hotchkiss.  I  don't  seem  to  be  very  well  this  morn 
ing.  I  really  feel  quite  faint. 

[95] 


HOTCHKISS 

Why,  of  course,  Mrs.  Davis.  You  really  looke  quite 
pale.  I'm  so  very  sorry.  Is  there  anything  I  can  do  ... 

NAIDA 

Oh,  please  don't  bother.  I  will  go  up  to  my  room  for  a 
while. 

(She  goes  out.) 

(Mrs.  Davis  comes  running  in  from  back.) 

MRS.  DAVIS 

Caroline,  nopotty  hass  fed  Mr.  Davis's  white  rats  and 
guinea  pigs. 

(To  Hotchkiss.) 

Good  morning. 

Guinea  pigs.  Dat  is  science!  To  spend  your  whole  life 
mitt  white  rats  and  guinea  pigs.  Till  you  pecome  a  white 
rat  or  a  guinea  pig  yourself. 

You  are  leaving  us,  Doctor  Hotchkiss? 

HOTCHKISS 

Right  away.  It  was  such  a  lovely  fresh  morning  I  thought 
I  would  walk  down. 

(Going  to  her.) 
Thank  you,  Mrs.  Davis.    You  have  been  very  kind. 

MRS.  DAVIS 

Dat's  netting.  It  vass  a  bleasure  to  haff  you  here, 
Doctor  .  .  . 

HOTCHKISS 
Yes,  Mrs.  Davis? 

MRS.  DAVIS 

About  my  poy?  You  vill  see  vat  you  can  do  about  hit 
abbointment  ? 

HOTCHKISS 

I  will  do  all  I  can.  I  am  always  your  friend,  Mrs.  Davis 
— and  David's  friend. 

[96] 


MRS.  DAVIS 
Thank  you,  thank  you,  Doctor.    You  are  a  goot  man. 

(As  he  goes  out  back,  Aunties  comes  from  the  garden 
with  a  basket  of  flowers  over  her  arm.  She  wears 
a  big  drooping  garden  hat  with  a  green  veil.) 

AUNTIE 

Look,  Lena,  de  roses!  Aren't  they  pretty.  Tea  roses. 
Chust  like  de  olt  country.  Not  so  fine,  of  course.  Ach,  it's 
so  varm  in  de  garden. 

(Feels  her  heart.) 

MRS.  DAVIS 

You  vill  kill  yourself  doing  so  much.  Put  you  never 
listen.  Ven  you  die,  den  it  vill  pe  time  enough  to  see  dat 
I  am  right  I  subbose. 

AUNTIE 
(Childishly.) 
Let  me  show  you,  Lena. 

(Pulls  out  a  large  rose.) 

Look  at  dat.  Like  a  papy's  hand!  Ach,  how  I  loff  de 
flowers. 

MRS.  DAVIS 

(Examining  the  basket  critically.) 

Chust  as  I  tought.  You've  picked  dem  too  soon.  Look 
at  dat.  Dey  aren't  even  bloomed  yet. 

AUNTIE 

Netting  I  do  iss  right.    I  am  always  wrong. 
You  must  speak  to  the  gardener,  Lena.     DC  best  rose 
bushes  are  covered  mitt  bugs.     Covered! 

(Ruby's  voice  is  heard  off  back,  frantically  calling.) 

RUBY 
(Off  back.) 

Mama.    Mama,  where  are  you? 
[97] 


MRS.  DAVIS 
Ruby.     Here  iss  mama. 

RUBY 

(Running  in.) 

Mama,  mama  .  .  .  Oh,  mama  .  .  .  Something  terrible 
has  happened.  Auntie  .  .  . 

MRS.  DAVIS 

Ruby,  vat  iss  it?  Tell  me.  Anyting  happened  to  papa? 
Is  it  papa? 

RUBY 
No,  David!    Where  is  Naida?    I  must  tell  Naida. 

(Calling  loudly.) 
Naida,  Naida  .  .  .  How  can  I  tell  Naida. 

DAVID 
(Entering.) 

Here  I  am,  Ruby.    I  heard  you,  Ruby.   .   .   . 
Ruby,  has  anything  happened  to  David? 

RUBY 

Naida — down  at  the  station  .  .  .  something  terrible  hap 
pened.  David  shot  someone. 

NAIDA 
Ruby,  was  it  ...  was  it  .   .   .  ? 

RUBY 
Doctor  Mackenzie. 

MRS.  DAVIS 

Davitt!  My  Davitt!  Oh,  my  Gott!  My  poy!  My 
little  poy!  Henri,  Henri.  I  vant  de  car  right  avay.  Henri. 
Vy  doesn't  he  come? 

(She  runs  out  frantically  calling.) 

RUBY 
(Sobbing.) 

Mama,  mama,  I  am  coming  with  you. 
(She  goes  off  back.) 

[98] 


NAIDA 

(Falls  back  against  the  door  in  a  fit  of  violent  laugh 
ter  which  grows  more  and  more  hysterical  until 
she  finally  shrieks  out.) 
I'm  so  glad !    I'm  so  glad ! 

AUNTIE 

(Horrified.) 
Ada  ... 

(She  goes  to  Naida  and  shakes  her  fiercely  and  as 
Naida  continues  to  laugh  hysterically  she  talks  to 
her,  her  old  voice  growing  strong  with  emotion 
until  finally  it  succeeds  in  calming  Naida  whose 
hysterical  laughter  turns  to  tears — and  she  falls 
into  Auntie's  arms,  weeping.) 

Ada!  Davitt  iss  everyting  to  me,  Ada.  You  don't  know 
.  .  .  Dere  vass  a  time  ven  Auntie  vass  everyting  to  him, 
too.  Ven  he  vass  a  little  poy.  He  vass  such  a  gentle  little 
poy,  Ada — not  like  udder  poys  .  .  .  Not  like  udder 
poys  .  .  . 

CURTAIN 


ACT  IV 

SCENE:  Same  as  Act  II.  September  of  the  following  year. 
Ornaments  are  removed.  The  room  is  ready  to  be 
closed  for  a  long  time.  Chairs,  couches,  etc.,  have 
covers  of  linen.  MRS.  DAVIS  sits  at  right  before  a 
folding  card  table,  playing  Patience.  EVA  sits  at  left 
well  forward,  knitting.  It  is  about  eight-thirty  on  a 
disagreeable  rainy  evening. 
[99] 


MRS.  DAVIS 
Ditt  you  bay  the  expressman,  Eva? 

EVA 

(Patiently.) 
Yes,  mama. 

MRS.  DAVIS 

I  subbose  de  furniture  vill  never  stant  de  moving — ant 
storage.  De  vay  dey  vere  packing  my  china!  My  pow 
dered  blue,  Eva! 

(After  a  pause.) 

Ven  are  dey  coming  tomorrow  to  finish  packing  up  de 
goot  furniture? 

EVA 

At  eight,  mama.  You  heard  .  .  .  you  were  standing  right 
there  when  he  told  Caroline. 

MRS.  DAVIS 

Ya.  I  hope  dey  don't  break  de  china.  Vat  are  you  knit 
ting,  Eva? 

EVA 
I  told  you,  mama.    A  little  pair  of  shoes. 

MRS.  DAVIS 
Oh,  yes.    To  tink  of  your  having  anudder  child. 

EVA 

You  had  better  send  in  one  or  two  of  the  maids  tomorrow, 
mama,  to  get  the  place  cleaned  up  and  things  ready. 

MRS.  DAVIS 

Vy  do  you  alvays  tell  me  what  to  do?  You  are  ass  batt 
ass  Christianne.  I  haff  kept  house  for  tirty  years.  I  shoult 
know  how  to  move  out  of  von  by  dis  time.  To  tink  of  my 
taking  an  abartment  in  New  York  after  all  dese  years  I  haff 
said  I  vould  never  live  in  an  abartment. 

[100] 


EVA 
You  will  be  more  comfortable  there,  mama. 

MRS.  DAVIS 

Yes,  I  certainly  cannot  live  any  longer  in  dis  house.  Here 
it  iss  September  alretty.  Vat  ve  haff  gone  through  since  last 
September!  Haff  you  seen  de  bapers  dis  evening,  Eva? 

EVA 

Yes,  mama. 

MRS.  DAVIS 

Oh,  I  cannot  talk  about  it.  Eva,  if  he  had  only  never  met 
Ada!  She  comes  along — and  vat  does  she  do?  She  turns 
hiss  head — mitt  her  i  and  her  n  and  her  singing  nonsense  ant 
all  de  rest.  Oh,  if  she  had  only  been  de  von  to  die! 

EVA 

Mama! 

MRS.  DAVIS 

Oh,  Efa,  to  haff  dis  disgrace  in  my  old  age!  Efa,  you  may 
pe  sorry  to  haff  anudder  child.  Vat  iss  it?  Suffering.  All 
suffering.  You  giff  your  life  for  dem  over  ant  over  again. 
Vat  do  dey  do?  Dey  chust  claw  your  heart  out. 

(Slams  down  the  cards  and  jumps  up.) 
Ach,  Gott!    I  cannot  blay  dis  Solitaire.    Look  at  dat!     I 
haff  got  stuck  again.    Herman  vent  to  court  today,  didn't  he? 

EVA 
Yes,  mama,  you  know  he  did. 

MRS.  DAVIS 

I  vake  up  in  de  middle  of  de  night — I  say — Davitt!  Iss 
it  you,  Davitt?  My  son!  Iss  it  all  drue?  Iss  dis  my 
own  son? 

EVA 

Mama,  please  .    .   . 

[101] 


MRS.  DAVIS 

Dere,  dere  .  .  .  Dis  iss  not  goot  for  you.  I  vill  liff  for 
your  children,  Efa.  May  Gott  brotect  you  ant  yours.  I 
know  dey  are  going  to  break  my  powdered  blue.  But  vat 
does  it  matter,  anyway?  But  you  shoult  haff  seen  how  care 
less  dey  were  mitt  de  vase  papa  gafe  me  on  our  anniversary. 
Vat  can  keep  Herman  so?  He  iss  alvays  on  time.  Do  you 
subbose  he  hass  heard  someting?  Mr.  Harcourt  saitt  today 
voult  pe  very  important  at  de  trial.  Do  you  tink  Mr.  Har 
court  iss  a  goot  lawyer,  Efa? 

EVA 

He  is  a  very  good  man,  mama.  I  am  always  telling  you 
that.  Everyone  says  that  he  did  wonderfully  with  the  case 
at  the  first  trial,  and  that  he  has  managed  .  .  . 

MRS.  DAVIS 
(Interrupting  violently.) 

But  he  cannot  make  an  innocent  man  out  of  a  guilty  von, 
iss  dat  it  ? 

EVA 
He  was  Hollister's  lawyer. 

MRS.  DAVIS 

Hollister!  Hollister  got  free.  He  vass  guilty  .  .  .  but 
dey  let  him  go.  He  defended  hiss  home.  But  Davitt  .  .  . 
Davitt  iss  a  different  matter.  Davitt  is  a  .  .  . 

EVA 
Oh,  mama! 

MRS.  DAVIS 

Oh,  vy  iss  everyvon  so  cruel  ?  Vy  do  dey  hate  us  so  ?  Vat 
haff  ve  done  ?  Am  I  to  turn  against  my  mudder's  blood,  my 
grantmudder's,  ant  her  mutter  ant  grantmudder?  Am  I 
to  pe  ashamed  of  all  de  goot  ant  honest  beople  who  haff 
lived  straight  and  struggled  ant  fought  dere  vay  dat  I  may 
pe  able  to  live  and  haff  my  rights  ven  I  am  born?  Vat  iss 

[102] 


life  den  .  .  .  but  to  love  your  own  kint,  to  cling  mitt  your 
last  breatt  to  your  own  flesh  and  blood !  My  mudder  vass  a 
Jew,  my  f adder  vass  a  Jew.  I  am  a  Jew!  I  am  proud  to 
be  a  Jew !  I  vill  fight  for  my  own  beople  until  I  die ! 

EVA 

Mama,  don't  get  so  excited.  Go  sit  down  and  play  your 
solitaire. 

MRS.  DAVIS 
Solitaire,  solitaire !    Ven  my  brain  iss  on  fire ! 

EVA 

(Listening.) 
I  think  I  heard  a  car  stop.  I  wonder  if  it  could  be  Herman. 

MRS.  DAVIS 

Herman  vill  at  least  gift  us  some  real  news.  Vat  can  you 
tell  from  de  newspapers?  I  shoult  like  to  know  vat  kint  of 
men  write  for  dose  bapers.  Do  dey  tink  dat  life  iss  a  choke, 
or  a  blay  dat  you  sit  at  ant  nopotty  really  cares?  Ada!  Ada's 
hat,  her  tress,  her  complexion,  de  vay  she  looked,  de  vay  she 
talked,  de  vay  Ada  does  dis,  and  de  vay  Ada  does  dat,  as  if 
she  vass  de  heroine  in  a  blay.  Ada — ven  my  poy  iss  on  trial 
for  hiss  life! 

(Herman  enters.) 

What  made  you  late,  Herman? 

HERMAN 
I've  had  so  much  to  do,  mama. 

(To  Eva.) 
How  do  you  feel,  dear?    Headache  gone? 

EVA 

It's  better.     Did  you  bring  the  toys  for  the  children? 

HERMAN 

Yes,  I  sent  them  up  with  Caroline.  How  do  you  feel, 
mama? 

[103] 


MRS.  DAVIS 
Vat  happened,   Herman?     Vat  happened  about  Davitt? 

HERMAN 

Yes,  mama,  I  am  coming  to  that.     This  afternoon  I  re 
ceived  a  note  from  Doctor  Hotchkiss. 

MRS.  DAVIS 

Vat   ditt    Doctor    Hotchkiss   say?     Tank   Gott   ve   haff 
von  friend. 

EVA 
Is  that  what  kept  you  so  long,  Herman  ? 

HERMAN 

Yes,  with  one  thing  and  another.  Eva,  Doctor  Hotchkiss 
is  coming  here  tonight. 

MRS.  DAVIS 

Doctor  Hotchkiss  iss  coming  here  to  see  us!  Someting 
terrible  hass  happened  den. 

EVA 

Herman,  has  anything  new  taken  place? 

MRS.  DAVIS 
Herman,  what  ditt  Doctor  Hotchkiss  say? 

HERMAN 

He  telephoned  me.  He  simply  said — Tell  Mrs.  Davis 
not  to  get  excited. 

MRS.  DAVIS 

Tell  Mrs.  Davis  not  to  get  excited.  Vat  does  he  tink  I 
am?  A  child?  A  foolish  person?  Am  I  such  an  olt  voman 
to  be  talked  to  like  dat?  Excited.  I  vill  get  excited.  I 
am  excited! 

(Walking  away.) 

Ach,  Gott,  vy  can't  I  have  any  peace? 
[104] 


EVA 

How  long  is  he  going  to  stay,  Herman? 

HERMAN 
I  don't  know.     The  whole  thing  is  a  mystery  to  me. 

MRS.  DAVIS 

Vat  happened  today,  Herman?  De  newspapers  saitt  de 
jury  vass  sympathetic  to  Davitt.  De  plumber  cried. 

EVA 
Oh,  mama,  you  never  read  anything  right. 

HERMAN 
There's  Guyer  .  .   . 

EVA 

The  station  master? 

HERMAN 
Yes.     He  is  really  the  valuable  witness. 

MRS.  DAVIS 

Dat  station  master!  Vat  right  hass  he  to  meddle  in  our 
affairs.  Vy,  Efa,  you  ant  I  ourselves  vent  to  hiss  vife  ven 
she  vass  sick  ant  took  money  ant  food  and  even  night  drawers 
to  de  children. 

HERMAN 

You  see  he  heard  what  passed  between  David  and  Mac 
kenzie  .  .  . 

MRS.  DAVIS 
Don't  say  dat  man's  name! 

EVA 

What  did  he  tell  today? 

HERMAN 

Well,  you  see,  he  trips  up  the  defense  this  way  .  .  .  Har- 
court  has  explained  David's  action  by  the  sudden  and 
temporary  insanity  .  .  . 

[1051 


MRS.  DAVIS 
David  insane!     It's  wicked  to  talk  like  dat! 

EVA 
Let  Herman  tell  us,  mama. 

HERMAN 
Well,  you  know  all  that  .   .   . 

EVA 
Yes,  but  what  did  Guyer  say? 

HERMAN 

Guyer  swears  that  David  did  not  fire  until  Mackenzie 
said  the  words — You  little  Jew! 

EVA 
Oh! 

MRS.  DAVIS 

He  fired  den  .   .   .  ven  he  vass  called  a  Jew? 
Oh,  my  poy! 

(She  goes  right ,  crying.) 
My  poor  poy! 

(She  goes  out.) 

EVA 

Then  this  is  what  they  have  been  waiting  to  spring  all 
along? 

HERMAN 

Yes.     Guyer  has  been  clever.     I  think  he  has  wanted  to 
help  David. 

EVA 
Do  you  think  he  has  the  slightest  chance,  Herman? 

HERMAN 
It  all  looks  bad. 

EVA 

You  talked  with  Mr.  Harcourt? 
[106] 


HERMAN 

Just  for  a  minute.  You  see  Mackenzie  was  so  powerful 
.  .  .  All  the  doctors  have  been  working  on  his  side  .  .  . 
that  is,  against  David. 

EVA 

But  Doctor  Hotchkiss  seems  to  have  some  influence.  He 
had  David  sent  out  to  the  sanitarium.  He's  comfortable 
there  ...  at  least  it  isn't  like  being  a  prisoner  .  .  .  Although 
they  won't  allow  any  of  us  to  see  him  .  .  .  Oh,  it  all  makes 
me  so  nervous  .  .  . 

HERMAN 

Why  don't  you  go  up  to  your  room  and  rest?  Even  if 
you  don't  go  to  bed  just  yet.  It  has  all  been  so  hard  for 
you  .  .  .  just  now  .  .  . 

EVA 

No,  I  must  be  here  to  meet  Doctor  Hotchkiss  when  he 
comes.  Someone  must,  and  you  can't  count  on  mama.  You 
go  up  and  see  if  the  children  are  alright,  will  you,  dear? 

HERMAN 

I  will  tell  Caroline  to  get  a  room  ready. 
(He  goes  out.     Naida  enters.) 

EVA 

(Jumping  up.) 
Naida! 

NAIDA 

Hello,  Eva.  I  couldn't  get  anything  to  take  me  up,  so  I 
walked.  Oh,  you  have  a  fire.  How  good  it  looks. 

(Goes  toward  the  fire.) 
It's  getting  cold,  isn't  it? 

EVA 
Naida,  I  never  thought  to  see  you  here  again. 

NAIDA 

I  never  thought  to  be  here  again.  What  is  the  matter? 
Why  is  everything  in  shrouds? 

[107] 


EVA 
Mama  is  selling  Roselands,  Naida. 

NAIDA 
Will  anyone  buy  it,  do  you  think? 

EVA 
Of  course.    What  makes  you  think  they  wouldn't  ? 

NAIDA 

Nothing.  Why  shouldn't  they?  Furniture  is  a  funny 
thing,  isn't  it? 

EVA 
I  must  say  I  don't  see  anything  funny  about  it. 

NAIDA 

This  couch,  that  chair,  the  table  where  Auntie  always  kept 
her  knitting  .  .  .  They  are  all  like  people  ...  all  talking 
to  me  at  once. 

EVA 
Naida,  why  are  you  here? 

NAIDA 
No,  they  are  like  devils — screaming  at  me. 

(Trying  to  be  offhand.) 
I  suppose  you  heard  about  my  taking  a  position? 

EVA 
Yes,  we  heard,  of  course.    Why  did  you  do  that,  Naida? 

NAIDA 

To  make  money.  When  I  discovered  that  David  had  so 
little  money  really  his  own  .  .  . 

EVA 

David  has  an  income — as  we  all  have. 
[108] 


NAIDA 

But  he  is  really  dependent  upon  his  mother  for  most  of 
the  big  things  he  must  have. 

EVA 

I  think  it  was  very  poor  taste  of  you  to  use  the  notoriety 
of  our  disgrace  to  advertise  yourself. 

NAIDA 
I  knew  you  would  think  that. 

EVA 
My  mother  would  never  have  begrudged  you  money. 

NAIDA 

But  she  did,  she  did — until  I  began  to  sing  in  a  public 
place. 

EVA 

I  suppose  you  are  to  be  congratulated  that  you  can  do  it.  » 
You  are  very  fortunate,  Naida. 

NAIDA 
Fortunate  ?     How  ? 

EVA 
In  not  being  like  the  rest  of  us.    We  are  so  sensitive. 

NAIDA 
Oh!    Where  is  Ruby?    Is  she  here? 

EVA 
Ruby  is  away  at  school. 

NAIDA 
And  how  is  Mr.  Davis?    And  Auntie? 

EVA 

Auntie  wasn't  well  today.  She  had  a  fainting  spell.  The 
trial  has  been  very  hard  on  her.  As  far  as  I  can  see  you  arc 
the  only  one  who  has  remained  unchanged. 

[109] 


NAIDA 
As  far  as  you  can  see,  Eva. 

EVA 
Naida,  why  are  you  here? 

NAIDA 
What  is  that  you  are  making?    It  is  so  small. 

EVA 
It's  a  pair  of  shoes. 

NAIDA 

Shoes?  Oh,  it's  for  a  baby.  I  never  saw  anything  so 
small. 

EVA 
It's  the  right  size.    It's  for  a  small  baby. 

NAIDA 
(Suddenly.) 
Eva  ...  is  it  ...  for  yours? 

EVA 

(Annoyed.) 
Yes,  of  course.     Don't  be  absurd,  Naida. 

NAIDA 

(After  a  pause.) 
How  funny !    How  funny  everything  is. 

EVA 
I  can't  see  anything  funny  about  having  a  baby,  Naida. 

NAIDA 

No,  of  course  it  isn't  funny.  I  don't  mean  that.  I  am 
sorry,  Eva. 

EVA 
Naida,  why  are  you  here? 

NAIDA 

Eva,  I  don't  want  Mrs.  Davis  to  know  I  am  here,  if  it 
can  be  helped.  I  don't  want  to  see  her.  I  can't  see  her. 
Eva,  will  you  promise  not  to  let  her  know  that  I  am  here? 

EVA 
But  I  don't  see  ... 

NAIDA 
Promise  me. 

[110] 


EVA 

I  promise,  of  course.     It  is  best  for  her. 

NAIDA 

(Who  walks  about  restlessly.) 
How  the  wind  is  blowing! 

(Irritably.) 
Eva,  for  Heaven's  sake,  stop  that  knitting! 

EVA 

I  don't  see  why  my  knitting  should  annoy  you. 
(Herman  enters.) 

HERMAN 
Eva,  mama  wants  to  see  you  upstairs. 

(Seeing  Naida.) 
Naida! 

NAIDA 
How  are  you,  Herman? 

HERMAN 
What,  are  you  here?     Eva,  think  of  Naida's  being  here. 

EVA 

You'd  better  come  upstairs  right  away,  Herman.    Mama 
will  probably  want  you. 

(She  goes  out  right.) 

HERMAN 
You  are  almost  like  a  ghost,  popping  up  like  this,  Naida. 

NAIDA 

Yes,  this  house  is  full  of  ghosts. 
HERMAN 

You're  not  looking  run  down  at  all.    In  fact,  I  never  saw 
you  looking  better. 

NAIDA 
Is  that  a  reproach? 

HERMAN 
Oh,  no,  not  at  all.    I  meant  it  as  a  compliment. 

NAIDA 

I  suppose  you  did.    Oh,  Herman,  please  don't  start  in  now 
and  pay  me  compliments. 

[Ill] 


HERMAN 

I  think  that  is  very  unkind  of  you,  Naida.  As  if  I  were 
the  flirtatious  sort  and  all  that,  you  know.  I  have  always 
wanted  to  be  friendly  with  you,  that's  all.  I  am  the  only 
member  of  the  family  who  has  understood  you. 

NAIDA 

I  suppose  that  was  why  you  were  so  ready  to  talk  about 
me  in  court. 

HERMAN 
I  merely  told  the  truth. 

NAIDA 

You  merely  gave  opinions.  I  don't  care!  How  silly! 
I  like  you.  At  any  rate  I  don't  hate  you.  Oh,  why  did  I 
come  here?  When  did  you  hear  from  Hotchkiss? 

HERMAN 
Today.     He  is  coming  here  tonight. 

NAIDA 

(Excitedly  breaking  out.) 
Tonight !    I  was  right  then !    I  risked  it ! 

HERMAN 
What  do  you  mean,  Naida?    Risked  what? 

NAIDA 

Do  you  hear  anything?  It's  the  wind  perhaps.  It  sounded 
like  a  car,  though. 

HERMAN 

He'll  come  by  train  most  likely.  There  isn't  any  until 
after  eleven. 

NAIDA 

No,  he  will  come  by  automobile. 
HERMAN 
Did  he  tell  you  ? 

NAIDA 
No,  I  just  know. 

HERMAN 

You're  nervous.    You're  trembling  like  a  leaf. 
[1121 


NAIDA 

No,  I  am  not  nervous.     I  don't  feel  nervous  at  all.    Go 
and  see  if  anyone  came,  will  you? 
(He  goes  out  left.) 

EVA 

(Entering.) 

Naida,  you  can  go  up  to  your  old  room  now  if  you  wish. 
I  put  a  lamp  in  there,  and  there  are  some  of  your  books  you 
left  here  .... 

NAIDA 
Thank  you,  Eva. 

(Going  to  Eva,  gently.) 

You  don't  look  very  well,  Eva.  You  really  don't  look  well. 
How  curiously  far  apart  we  are,  Eva.     I  am  sorry. 

EVA 
Mama  is  in  Auntie's  room  just  now.    She  won't  hear  you. 

NAIDA 
I  understand.    Thank  you,  Eva. 

(She  goes  out  right.    Herman  enters.) 

HERMAN 
Eva,  why  is  she  here  ? 

EVA 

To  bring  fresh  trouble  upon  us  all.  Oh,  if  she  had  never 
come  into  this  house ! 

HERMAN 
She's  looking  well,  too,  isn't  she? 

EVA 
XGU  always  have  thought  so,  Herman. 

HERMAN 
Now,  Eva,  I  hope  you  don't  think  .   .   . 

CAROLINE 
(Entering.) 
Doctor  Hotchkiss  is  here,  Mrs.  Goldschmidt. 

EVA 
Here  he  is. 

(As  he  enters.) 
Good  evening. 

[113] 


HOTCHKISS 

Good  evening,  Mrs.  Goldschmidt.  Do  you  know  anything 
of  Mrs.  Davis  ...  I  mean  David's  wife,  of  course.  I  have 
been  trying  to  reach  her  all  afternoon. 

HERMAN 
She  is  here.    She  came  this  evening. 

HOTCHKISS 
Ah!    She  is  here  then! 

EVA 

They  aren't  going  to  let  David  off,  are  they?  Tell  us, 
frankly,  Doctor  Hotchkiss.  There's  no  hope,  is  there? 

HOTCHKISS 
Not  as  far  as  the  law  is  concerned,  Mrs.  Goldschmidt. 

HERMAN 
What  do  you  mean  by  that? 

EVA 
Do  you  mean  then  that  David    .    .    .    ? 

HOTCHKISS 

Your  brother  has  escaped  from  the  Sanitarium.  He  will 
be  here  within  a  half  hour. 

EVA 

Doctor!     Herman,  do  you  hear? 
HERMAN 
You  are  helping  him  in  this,  Doctor  Hotchkiss? 

HOTCHKISS 

His  wife  made  the  plan.  It  has  been  her  courage  and  faith 
which  has  made  it  all  possible.  She  has  done  everything  in 
her  power  to  save  him.  I  have  done  what  I  can  to  help  her. 

EVA 
But  how  is  this  possible?     How  can  he  run  away  like 

this  .  .  . 

HOTCHKISS 

David  sails  tonight  for  South  America — there  is  a  small 
scientific  school  in  an  out-of-the-way  part  of  Peru.  .  have 
made  arrangements  for  him  to  work  in  the  pathological 
department  there.  > 

[114] 


HERMAN 
(Awed.) 
Do  you  realize  that  you  are  acting  in  defiance  of  the  law? 

HOTCHKISS 
I  realize  what  I  am  doing. 

EVA 

Oh,   Doctor  Hotchkiss,  you  don't  realize  what  all  this 
means.    You  scientists  are  too  taken  up  with  theories.    You 
never  see  things  as  they  really  are.    This  simply  means  fresh 
disgrace  and  notoriety  and  misery  for  us  all. 
(Mrs.  Davis  enters.) 

MRS.  DAVIS 
(Entering.) 

Doctor!  Doctor,  vy  are  you  here?  Vat  iss  happening? 
I  knew  somting  vass  taking  place.  Eva,  vy  do  you  look  like 
dat?  Have  dey  decided?  Iss  dis  de  end  den? 

EVA 

Mama  .   .   . 

Mama,  Naida  and  Doctor  Hotchkiss  have  made  arrange 
ments  .  .  .  David  is  running  away  ...  He  is  coming  here 
tonight. 

MRS.  DAVIS 
He  iss  running  avay.     Iss  dis  true,  Doctor? 

HOTCHKISS 
He  will  be  here  in  a  very  short  while. 

MRS.  DAVIS 
(Joyously.) 

Davitt  vill  pe  here  .  .  .  here  in  my  house  again  .  .  . 
home  .  .  . 

(Suddenly  grave.) 
But  de  law  .  .  .  de  law  ...  it  hass  not  let  him  go? 

HOTCHKISS 
No. 

MRS.  DAVIS 
My  poy! 

[US] 


HOTCHKISS 

Don't  you  understand  what  this  means?  It  means  that 
instead  of  being  put  to  death  like  a  miserable  criminal  David 
will  go  away  ...  he  and  his  wife  will  go  away  to  South 
America  where  David  can  have  quiet  and  seclusion  .  .  . 
where  he  can  carry  on  his  work. 

MRS.  DAVIS 
He  ant  his  vif e  ?  Ada  vill  haff  him  den  ? 

HOTCHKISS 
My  dear  Mrs.  Davis,  do  you  really  mean  .  .  . 

MRS.  DAVIS 

Vat  difference  does  Davitt  make  to  her  anyvay?  She 
never  loved  him.  Hasn't  she  broven  dat?  Yet  she  can  haff 
him.  My  son !  Dere  hass  not  been  a  night  I  haff  not  cried 
for  him.  Vy  is  everyting  so  unfair,  Doctor?  Vy  iss  it  dat 
goot  people  are  made  to  suffer  in  dis  vorld  and  batt  beople 
alvays  haff  tings  go  dere  vay  ?  Oh,  I  don't  understand ! 

(As  Jacob  enters.) 

Papa,  Davitt  iss  running  avay  from  de  Sanitarium.  He  iss 
coming  here  tonight. 

JACOB 
Davitt  is  running  avay? 

EVA 

Naida  and  Doctor  Hotchkiss  have  planned  for  him  to 
escape  to  South  America. 

JACOB 
He  iss  running  avay  from  de  law? 

MRS.  DAVIS 
Yes,  Jacob,  he  iss  escaping  like  a  criminal.  Our  poy! 

JACOB 
Davie! 

(All  during  the  following  he  stands  quiet  and  stricken 
watching  the  others  in  amazement  and  pain.) 

MRS.  DAVIS 

Mitt  Ada,  too,  papa.    He  iss  running  avay  mitt  Ada. 
[116] 


EVA 

Naida  and  he  will  be  happy.  They  can  begin  over  again. 
But  we  will  have  the  thing  over  us  all  our  lives.  It  isn't 
fair.  It  isn't  right. 

HERMAN 

People  never  think  of  others.  They  are  always  thinking 
of  themselves.  If  David  had  only  stopped  to  think  of  his 
own  family  .  .  . 

EVA 

Yes,  Herman,  why  couldn't  he  think  of  us?  We  will  be 
watched  like  criminals. 

MRS.  DAVIS 

All  he  tinks  of  is  Ada.    Ada! 
(Naida  enters.) 

NAIDA 
(Ignoring  all  but  Doctor  Hotchkiss  she  goes  up  to 

him  eagerly.) 
Doctor  Hotchkiss?    You  did  come! 

MRS.  DAVIS 
Ada,  vat  are  you  doing  in  my  house? 

NAIDA 

(To  Hotchkiss.) 
Have  they  started? 

HOTCHKISS 
Yes. 

NAIDA 
Thank  God! 

MRS.  DAVIS 

Naida,  you  haff  no  right  here.  Ven  you  left  my  house 
you  left  it  for  goot. 

NAIDA 

(To  Hotchkiss.) 
What  time  did  they  start? 

HOTCHKISS 
At  eight. 

[117] 


NAIDA 

At  eight.  And  it's  past  ten.  Do  you  think  that  it  should 
take  that  long? 

HOTCHKISS 

Baker  telephoned  me  when  they  started.  He  said  every 
thing  was  alright. 

MRS.  DAVIS 

Ve  voult  never  pe  vere  ve  are  if  it  vassn't  for  you,  Ada. 
You  are  de  cause  of  all  our  misery. 

NAIDA 
It  shouldn't  take  so  long.     Can  anything  have  happened? 

MRS.  DAVIS 
Ada,  you  have  no  right  to  my  poy  after  vat  you  haff  done. 

JACOB 
Mama! 

MRS.  DAVIS 

Don't  try  to  stop  me.  I  vill  say  vat  I  haff  on  my  heart. 
If  Ada  vass  a  goot  voman  she  voult  never  haff  done  vat 
she  hass.  And  if  she  had  von  scrap — von  scrap — of  decency 
in  her  she  voult  know  dat  she  hass  no  holt  on  Davitt  now. 
She  has  no  right  to  him. 

EVA 

It  would  have  been  better  if  you  had  never  married  David, 
Naida.  Then  the  outcome  of  your  affairs  would  have  been 
your  own  look-out.  Why  should  we  all  be  made  to  suffer 
for  the  selfishness  of  you  two? 

HERMAN 
If  you  only  stopped  to  think  of  other  people  .  .  . 

MRS.  DAVIS 

You  never  treated  me  like  a  mudder.  I  vass  alvays  Mrs. 
Davis  to  you.  You  alvays  treated  me  like  de  dirt  under  your 
feet.  Oh,  I  am  not  a  fool.  I  know  ven  beople  are  laughing 
at  me.  You  alvays  ridiculed  me.  You  taught  Davitt  to  do 
it.  You  taught  Davitt  to  look  down  on  hiss  own  mudder. 

EVA 

It  is  true,  Naida.    You  never  tried  to  become  one  of  us. 
[118] 


HERMAN 

You  never  tried  to  make  a  friend  of  Eva  ...  your  hus 
band's  sister. 

JACOB 
Mama,  Eva  .   .   .   ! 

MRS.  DAVIS 

And  all  the  time  you  vere  in  de  house  you  never  put 
yourself  out  to  be  kint.  You  never  did  de  tings  vomen  do — 
netting  for  de  children,  notting  for  papa  .  .  . 

JACOB 
Lena  .    .   . 

MRS.  DAVIS 

Or  myself,  or  even  Auntie.  You  were  rude  to  all  our 
friends.  You  hated  us  from  de  first  day  you  met  us,  from 
de  very  first  day.  You  made  fun  of  us,  and  looked  down  on 
us,  and  despised  us  because  ve  are  Jews! 

JACOB 

(Growing  impatient.) 
Mama. 

MRS.  DAVIS 

Don't  stop  me!  My  heart  is  breaking.  I  curse  de  day 
dat  Davitt  ever  saw  you,  Ada.  I  curse  de  day  you  vass  born. 
I  never  vant  to  look  into  your  face  nor  hear  your  name  ass 
long  ass  I  live! 

JACOB 

(Aroused  at  last.) 
Keep  still! 

MRS.  DAVIS 
Jacob ! 

JACOB 

Keep  still,  I  say.  Dis  iss  not  time  for  quarreling.  Doctor 
Hotchkiss,  answer  me,  why  iss  Davitt  coming  here  tonight? 

NAIDA 
(Quickly.) 

To  see  you,  to  see  his  mother,  to  see  his  own  people  before 
he  goes.  He  is  risking  everything  for  that. 

[119] 


JACOB 

Do  you  hear?  Mama,  do  you  hear  dat?  Your  son  is 
risking  his  life,  his  freedom,  his  happiness,  to  come  home  again 
for  von  look  at  us,  his  own  flesh  ant  blood.  And  here  you 
are,  quarreling,  calling  names,  being  bitter  and  unkind. 
Mama,  pe  humble  before  your  son  ...  he  has  had  much 
suffering. 

(There  is  a  silence.  All  wait.  Suddenly  Naida 
calls  out.} 

NAIDA 
There  it  is !    There's  the  car ! 

(Doctor  Hotchkiss  goes  out.  After  a  minute  David 
enters.  He  is  altered.  He  is  pale  and  thin,  his 
eyes  haunted  by  a  thousand  imaginings.  He  looks 
about  the  group  dully  as  a  man  who  comes  from 
the  dark  into  the  light.) 

MRS.  DAVIS 
Davitt ! 

DAVID 
(Very  low.) 
Mama  .  .  . 

(His  eyes  travel  slowly  from  one  to  the  other,  and  he 

mumbles  their  names.) 
Papa  .  .  .  Herman  .  .   .  Eva  .   .  . 

(His  eyes  rest  on  Naida  at  first  dazedly,  then  curi 
ously,  finally  hungrily,  and  piteously.) 
Naida  .    .    . 

NAIDA 
(Low.) 
David   .    .    . 

MRS.  DAVIS 
Davitt,  my  Davitt. 

DAVID 

Mama!  You  don't  look  well,  mam.  Papa,  too — quite 
thin  .  .  .  And  Eva  .  .  .  All  of  you  ...  If  it  had  only 
been  just  myself. 

H20] 


JACOB 
Mama  and  I  have  prayed  for  you — every  night. 

DAVID 

Yes.  I  seem  to  be  seeing  your  faces  for  the  first  time  .  .  . 
What  sweet  faces  they  are  ...  so  patient  .  .  .  Mama  .  .  . 
I  am  so  tired. 

JACOB 
Davitt,  you  haff  not  asked  about  Auntie. 

DAVID 
Yes,  Auntie?    Where  is  she? 

JACOB 
Auntie  is  sick,  Davitt.     She  iss  in  bett. 

MRS.  DAVIS 

Come  upstairs  ant  see  Auntie,  Davitt.    She  talks  of  netting 
put  you,  Davitt.    Come,  mitt  mama. 

(As  he  takes  her  arm.) 
Dat's  right.    Lean  on  mama's  arm,  Davitt. 

JACOB 

(As  he  and  Mrs.  Davis  go  out  with  David.) 
You    vill    pe    surprised,    Davitt— dere    is    a    change    in 

Auntie  .   .    . 

(They  go  out  .  .   .  Eva  weeps.    Herman  and  she  go 
out  after  the  others.     Doctor  Hotchkiss  enters.) 

NAIDA 
You  have  been  so  wonderful.    How  can  I  ever  thank  you? 

HOTCHKISS 
You  have  been  the  wonderful  one. 

NAIDA 
Everything  has  gone  alright?     They  got  away  alright- 

no  one  knew? 

HOTCHKISS 

Only  the  Doctor.     He  has  been  so  kind. 
NAIDA 

And  our  passage? 

HOTCHKISS 

I  have  it.    She  is  a  sailing  boat  and  carries  a  cargo.    You 
[121] 


and  David  will  be  the  only  passengers.  Of  course  you  realize, 
Mrs.  Davis,  what  all  this  means? 

NAIDA 
That  I  will  have  to  be  careful? 

HOTCHKISS 

Always.    On  board  you  must  be  known  as  an  invalid.  You 
must  never  leave  the  cabin. 
Where  is  David  now? 

NAIDA 
Upstairs.     His  aunt  is  ill  ... 

HOTCHKISS 

We  must  start  at  once.  Baker  has  had  some  trouble  with 
his  engine.  When  we  are  ready  to  start  I  will  telephone 
out  from  the  garage.  You  needn't  bother  to  answer. 

NAIDA 
Why  doesn't  he  come  down? 

HOTCHKISS 
Hurry. 

(He  goes  out  left.    David  enters.    He  goes  to  Naida 
and  takes  her  in  his  arms.) 

DAVID 
Naida! 

NAIDA 
Oh,  my  dearest ! 

(They  cling  to  each  other  passionately.) 
David,  thank  God  for  giving  you  to  me  again ! 

DAVID 
My  wife,  my  dearest,  dearest  love! 

NAIDA 

Did  you  ever  think  that  this  would  happen  again — we  are 
together — in  each  other's  arms. 

DAVID 
I  never  dared  hope  it.    Let  me  see  your  face. 

NAIDA 
My  face  is  close  to  yours,  David. 

DAVID 
This  is  worth  everything. 

[122] 


NAIDA 
Oh,  let  us  sit  down  until  the  car  is  ready. 

DAVID 

Just  to  hear  your  voice  again  .  .  .  to  be  able  to  touch 
you  .  .  . 

NAIDA 

(Sitting  beside  him.) 

Yes  ...  I  can't  take  my  eyes  from  your  face.  David, 
lately,  for  the  last  months  and  since  I  have  been  in  this  house 
again — I  have  felt  life  stripped  of  everything,  of  all  its  illu 
sions  and  narrowness.  There  are  just  the  bare  truths  left 
— just  our  love — and  our  duty. 

DAVID 
How  your  eyes  glow,  Naida. 

NAIDA 
I  am  ready  to  sacrifice  anything  for  that,  David. 

DAVID 

Yes,  that  is  what  I  wanted  to  talk  to  you  about — sacrifice. 
Naida,  do  you  realize  the  kind  of  life  we  are  going  into? 

NAIDA 
Yes,  yes,  I  do  realize. 

DAVID 

It  will  be  entirely  different  from  the  life  we  have  always 
known.  We  will  be  cut  off  entirely  from  human  associations. 
We  will  have  to  deprive  ourselves  of  a  great  deal.  We  will 
be  watched,  and  we  will  be  watching. 

NAIDA 
I  am  not  afraid. 

DAVID 

We  will  have  very  little  money.  There  will  be  small 
privations — these  are  harder  to  bear  almost  than  big  ones. 

NAIDA 

I  know.  I  know.  I  will  make  our  home.  I  don't  care 
where  it  is  or  what  it  is.  I  will  give  my  whole  life  for  it, 
David.  Don't  you  see?  It  is  what  I  wanted  all  along — You! 
Only  you !  Oh,  I  can't  hope  to  prove  it  to  you  all  at  once 

[123] 


.  .  .  but  you  will  see — little  by  little  .   .  . 
(The  telephone  bell  rings.) 
DAVID 
(Startled.) 
What  is  that  ? 

NAIDA 

It  is  Doctor  Hotchkiss.  It  means  that  it  is  time  for  us 
to  go.  Oh,  my  God,  how  good  you  are  to  me ! 

(She  takes  his  arm.) 

You  are  my  child,  my  sick  child.  I  will  nurse  you,  until 
you  are  well  again.  I  will  keep  everything  away  from  your 
heart  until  it  is  brave  again.  David,  do  you  trust  in  me  now? 

EVA 

(Entering.) 
David.    David,  I  want  to  speak  to  you  .   .   . 

DAVID 
(  Turning. ) 
Eva. 

EVA 

David,  Auntie  is  worse  all  at  once.  A  great  change  has 
come  over  her.  Mama  is  telephoning  for  the  doctor  again. 

NAIDA 

(Growing  white.) 
Auntie ! 

DAVID 

(Going  toward  Eva.) 
Auntie  is  worse  you  say,  Eva  ? 
EVA 

She  called  your  name — twice. 
DAVID 
She  called  for  me! 

NAIDA 

(Going  to  David — fearfully.) 
David,  we  must  hurry. 

EVA 

David,  I  am  afraid  she  is  going  to  die. 
[124] 


DAVID 
I  will  be  right  up,  Eva.     I  am  coming  right  up. 

EVA 

(Going  right.) 
I  will  tell  her. 

(She  goes  out.) 

NAIDA 
(Pleading.) 
David  .    .   . 

DAVID 
I  must  see  Auntie.     I  cannot  go  without  seeing  her. 

NAIDA 

But  we  must  go  now.  You  heard  the  telephone  bell. 
That  was  the  signal  from  Doctor  Hotchkiss. 

DAVID 
I  cannot  go  without  seeing  her  first. 

NAIDA 

(Following  him.) 

She  is  an  old  woman.  She  herself  would  forgive  you.  Oh, 
David,  don't  spoil  it  all  now.  Don't  kill  our  lives  now — now 
just  as  we  are  beginning! 

DAVID 
Her  poor  old  heart  is  not  dead.     She  called  me  twice. 

NAIDA 
And  I  am  calling  you! 

DAVID 
Yes,  Naida,  you  .    .    . 

(The  telephone  rings  again.) 

NAIDA 
There  is  Doctor  Hotchkiss  again  .    .    . 

DAVID 

How  can  I  run  away  like  this  and  leave  her?  She  was 
living  out  her  old  days.  She  was  happy  in  her  own  way. 
With  her  knitting  and  her  flowers.  She  had  peace.  And 
then  I  took  it  all  away  from  her.  I  know  her  old  heart.  I 
know  how  she  has  suffered.  Almost  as  much  as  you,  Naida. 

[125] 


NAIDA 

David,  Stop!  You  are  doing  now  just  what  caused  all 
this  terrible  thing?  You  are  listening  to  your  ancestors. 

DAVID 
Yes,  Naida,  you  are  right.    That  is  what  I  am  doing. 

NAIDA 
Oh,  come,  dear.     We  are  in  the  right.     Come! 

DAVID 

You  are  right,  Naida.  I  am  chained  to  my  ancestors.  I 
am  bound  to  all  those  who  owned  my  past  and  who  share 
my  present.  I  have  brought  shame  and  disgrace  and  suffer 
ing  upon  my  own  people,  Naida.  I  have  wanted  to  die.  I 
have  wanted  to  die  and  pay  for  my  crime.  There  was  only 
one  thing  that  made  me  want  to  live  .  .  .  my  love  for  you. 
Don't  you  see?  I  couldn't  see  you,  couldn't  be  near  you. 
I  couldn't  hear  your  voice,  couldn't  see  your  eyes. 

NAIDA 
You  felt  that  you  should  pay? 

DAVID 
Yes,  I  felt  that.    I  still  feel  it. 

NAIDA 

And  you  wanted  to  be  free — you  wanted  to  go  away — 
just  because  of  me? 

DAVID 

Yes,  yes,  don't  you  see  ?  The  wanting  you  was  so  terrible 
I  forgot  everything  ...  it  excluded  everything. 

NAIDA 
Then  I  was  just  another — sin? 

DAVID 
Don't  say  that! 

NAIDA 
I  was  calling  you  in  spite  of  your  sense  of  duty. 

DAVID 

Naida  .   .   .  Just  as  I  am  calling  you  now. 
[126] 


NAIDA 

And  out  there  you  would  never  forget.    You  would  never 
forgive  me.    It  would  have  been  a  mistake.    Another  mistake. 
(After  a  moment  Naida  turns  to  go  back.) 

DAVID 

Naida,  what  are  you  doing?  Why  do  you  turn  away 
from  me  like  that? 

NAIDA 

Oh,  David,  isn't  the  truth  clear  to  you  now?  It  is  to  me. 
For  the  first  time  I  see  it.  You  and  I  have  never  really  been 
one.  We  could  never  really  be  one.  I  came  into  your  life, 
something  strange  and  new.  You  saw  in  me  all  the  wild 
things  you  had  missed  and  that  was  why  you  reached  so 
eagerly  for  me,  why  for  a  time  you  thought  you  were  so 
happy. 

DAVID 
We  were  happy. 

NAIDA 

But  we  never  really  understood  each  other.  We  never 
spoke  the  same  language,  dear,  never  asked  the  same  things 
of  life,  never  even  agreed  about  the  things  which  are  most 
important.  You  tried,  I  tried,  but  we  were  helpless  against 
it.  From  the  beginning  it  was  there — and  that  was  why  we 
clung  to  each  other  so  desperately,  so  passionately,  trying  to 
hide  it  from  each  other.  What  have  I  done  for  you?  In 
spite  of  all  my  love,  in  spite  of  all  my  hopes  and  dreams  for 
you,  what  have  I  brought  you?  Simply  perplexity  and  trouble 
and  miserable  unhappiness.  First  I  stood  between  you  and 
your  work.  Then  I  stood  between  you  and  your  family. 
Now,  just  now,  I  have  been  standing  between  you  and  your 
highest  self.  No,  no,  no,  my  dearest,  don't  lie  to  yourself, 
don't  pretend  any  more.  This  is  the  truth.  We  must  see 
it.  We  must  both  look  at  it  bravely.  Tonight — no  matter 
what  happens — I  must  go  back  without  you.  You  must 
stay  here — with  them. 

[127 


DAVID 
Naida  .   .   . 

(They  clasp  hands  and  stand  a  moment  looking  into 
each  other's  eyes.) 

NAIDA 

Sometimes  there  is  a  kind  of  happiness  in  the  truth,  David 
Even  a  terrible  truth. 

(Naida  goes  back.    David  stands  a  moment  looking 
at  her.    Mrs.  Davis  calls  off  right.) 

MRS.  DAVIS 
David!     David! 

CURTAIN 


[128] 


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